#tondero

[erickgaraysolorzano]

Embistiendo llegó el toro | Cuento. En Espacio Sonido (Perú)

Relato galardonado en el XXI Concurso Bienal Nacional de Cuentos Germán Patrón Candela. Publicado en el libro del mismo nombre, con los otros cuentos ganadores (Trujillo, Perú, 2023). Embistiendo llegó el toro, llegó bailando minué…“De España nos llegó Cristo”, César Calvo Y la dura luz de los reflectores que le cae verticalmente al cuerpo, y ese cuerpo que escapa, en cada giro de su movimiento…

[rainbowchewynuggets]

IT'S DONE IT'S DONE IT'S DONE IT'S DONE

I've been grinding away at this for months. I can't wait for people to see it. This project turned out to have a lot of gears behind it, so check out the artist statement below!

vvvvvvvvvvvvvvvvvv

I love this song. The first time I heard it, I already began picturing a story where a woman stumbled upon a gathering of birds in the forest and became so enthralled by their song that she partied with them until she became a bird, herself. It turns out that isn’t too far off from the singer, Yma Sumac’s, first experiences learning to sing. She would imitate the animals near her home in the hills of the Andes mountains as a very young kid, developing a vocal range that would make her famous later on.

From there, I fell into a montage of research on her life and the Peruvian festival music that defined her early career, as well as the complicated story of the exotica music she became most known for in the United States. I followed that up with a month-long dive into northwest Peruvian culture, mythology, ornithology, flora, and topographical studies. Then, I blacked out somewhere during the drawing phase, and now I’m here.

While I really value what I’ve learned while doing this project, I think it’s important to note that I did it all as an amateur researcher and a foreigner to the subject. I decided it would be a little conceited to try to make a totally accurate depiction of a traditional Peruvian festival, so I instead focused on referencing the regional variation of these traditions. Costumes and music have their own specific designs and textures depending on the area, and dances and festivities reflect local history. Yet, it all shares the same themes of celebrating prosperity and surviving hardship. Common motifs and characters reflect a shared heritage and cultural identity that coexists with individuality. It’s all just very cool to me.

So I asked myself, what if these birds had their own version of these traditions? What would a bird sing a folk song about? What would be new and cool to Yma, but still familiar enough that she could join in? (I got lucky, since Peruvian festival culture is already very reverent of birds and feather patterns.)

What I ended up with pulled a lot from the Carnaval de Cajamarca, which originated in the next town over from Yma’s childhood home of Ichocán. It also references these dances, among others:

Huaylarsh - Los Emplumados - Marinera - Tondero - White Dance / Los Chunchos

It’s also important to know that I took a lot of creative liberties with my research to pull the story together. I hope I haven’t used any elements in a harmful or insensitive way–and if I have, I’d like to know so that I can apologize. (I also missed out on some cool stuff, like the White Dance always having shaker beads on the legs.) I highly encourage you to have a look at some of the sources I did, and to look further if you’re interested. I found it all very enlightening, and I hope you will too.

Yma’s wikipedia, which seems like a mostly accurate overview based on other sources

Her official website, curated by a fan and friend

A segment on NPR about her musical career

The interview I got the opening from

The ornithology archive that saved my ass

I’d like to work on uploading all the frames as an image reel somewhere so they can be looked at individually. Might take a while, though.

Thanks for watching!

(To those using a screen reader, the video description follows this message. I'd like to apologize for putting the description as the last thing on the post. Not only is it extremely long, but this seemed to be the rare instance where the description would benefit from the context of the post's commentary before being read itself. I wrote and formatted this description in a way that I hoped would apply to aid various disabilities that impede enjoying music videos, and I am very interested in getting feedback.)

DESCRIPTION

[The following is presented as an animatic (a series of still images edited into a video) set to music. The art is drawn with condensed yet fuzzy pastel-like linework and full color. The song used is “Chuncho” by Yma Sumac. The song was composed to imitate the various sounds of tropical birds and animals. It has no lyrics, at least in a traditional sense. I, the describer, have tried my best to translate the especially abstract nature of this song into language that can be interpreted through text. Please use the best of your imagination to fill in the rest. An audio description will always refer to the visual description that follows it.

Audio: A male interviewer asks, “Since you are referred to the bird who became a woman in your native Peru, Ms. Sumac, may we hear your exotic voice?”

Visuals: A title card appears with gold lettering on a black background. It reads one word: Chuncho. The word is depicted as if it were carved into a flat surface with loose individual strokes.

Audio: A woman answers, “I will try to imitate the birds, as I did in my earliest years in the mountains of Peru.”

Visuals: Credits appear, also in gold text: Sung by Yma Sumac (Zoila Augusta Emperatriz Chàvarri del Castillo. Drawn by Carlie Hughes (rainbowchewynuggets).

Audio: The music begins with the steady four-note strumming of a guitar, which will continue throughout the song. Then, it is accompanied by low ragged notes from a heavy woodwind instrument.

Visuals: A green cicada flicks its wings as it rests on a plant with jagged leaves and a little white flower growing from the middle. Beetles of green, red, and yellow crawl around on trees and ferns among puffy yellow blooms. Yellow humpback beetles huddle together on a cold stone surface as mothlike butterflies cling to hanging purple-grey moss in the background. A cluster of butterflies of black, green, blue, orange, purple, and red flare their wings along stems and vines. A line of spiny cocoons hang from a vine leading up the center of the group.

Audio: A vocalist, the same woman as before, begins to sing in vocables. Her first notes are short, round, and bubbly, like the chirping of a small bird. The lilt of a flute follows.

(“B-bm, bui-bui-buiii…”)

Visuals: A small village sits on the side of a forested and scrub-covered mountain at night. Buildings twinkle with yellow and blue window light through the darkness. At the edge of the forest, a tall lean woman appears with warm orange skin, long black hair, a simple green dress cinched at the waist with blue trim on the neck, hem, wrist, and waist, and a powder blue shawl tied at the chest. She sneaks away from the village into the temperate tropical forest, glancing back to make sure hasn’t been followed. She grows more at ease as she leaves the buildings behind and strides between bushes, deeper into the trees. She passes a flowering plant with orange petals. Its bulbs are held aloft on long, long stems.

Audio: The vocalist sings in elongated threads of notes, wavering in a minor key in a mischievous way.

(“Whu, hu-uuuu…”)

Visuals: The woman grazes her fingers along a bush with little black berries and white spiky flowers. Her hand passes up and down with the shape of the bush, like the rise and fall of an ocean wave. She walks uphill, past pink clover and increasingly frequent stones.

Audio: The vocalist clicks and rolls her tongue with her notes, like drops of water splashing across stones.

(“Dlu, dlu-dlu-dlu-dlu-buiii…”)

Visuals: A voice suddenly gets her attention. The voice passes by as a green line with wide wave forms. The woman follows it. She passes through a stone forest–dense moss-covered rock formations that reach up toward the sky. The ground below is streaked with snake trails. The line of song is now yellow. It leads her forward along a trail through the rocks. She climbs a more precarious formation of boulders, through dense shrubbery and a dramatic rocky landscape. As the voice shifts redder, her colors shift pinker. Even the environment’s colors are shifting to pinks and blues. She climbs a hill, past tall spindly trees and a nearly vertical mountainside. The pink line of song leads her still upward.

Audio: The vocalist belts out the deep throaty call of a tropical bird trying to be heard far and wide. The notes increase in frequency, then widen into a whoop that softens to a murmur. The flute follows her with a few short forceful notes.

(“Ah, bya bya bya-bya-bya-bya-bya-byaaa, whoa-whoa-whoa-whoa-wi, wa-wa-wa wiii…”)

Visuals: When the woman reaches the top of the hill, a light shines up at her from the other side, returning her original colors. Below, she sees a gathering of human-sized bird people celebrating on a leafy platform. They’re dancing in different sized circles around a tree at the center. Rainbow colored ribbons of different lengths have been tied to the branches of the tree and hang down to form the silhouette of a condor. More ribbons and colorful bulbs hang from the leaves above. The line of song (now light blue) travels in a circle around the tree trunk. The camera zooms in, revealing details of the birds and their costumes. The birds are pigeons, hawks, cuckoos, seedbirds, and corvids. They’re all dressed in colorful hats, vests, slacks, and dresses with patterns that reflect those of their feathers. A circle of spotted woodpeckers closest to the trunk wear purple gowns and party hats. The party’s singing expands the blue circle of light. A wider circle of yellow, green, and white birds sit and watch the celebration from the edges of the platform. As a line of bright manakin birds zip by with their hands clasped together, the woman approaches from a nearby branch. She’s enticed by the party and joins the dance, clasping hands with a green parrot and leading the line with a broad smile on her face.

Audio: The vocalist makes a quick sudden series of escalating notes, then makes a hard sound with her teeth and returns to a low whoop. The flute echoes her.

(Ba-bana-baba-cht!,  waw waw waw waw waw waw waw wiii…”)

Visuals: The birds switch to individual dances. A short red woodpecker and a tan long-necked bird with ribbons in her hair dance and sing together, their lines of song intertwining. The woman and three pigeons in red and black dresses stomp their heels in a quartet dance. She follows their steps flawlessly, familiar with the type of dance. When they begin to sing and whistle, she joins them–though her voice isn’t as strong as theirs and her line of song is thin and brittle.

Audio: The vocalist makes a low growl, at first imperceptible, that grows to a steady rumble. The flute follows.

(“Rhhh…, rhh, rhh rhhh…”)

Visuals: Then, the lights darken and redden. The woman stops to notice all the other birds heading to the back of the platform. They climb and flutter up to sit in fruit-bearing branches that grow just beyond. The woman finds herself a spot and picks a piece of fruit to eat. She takes a bite as a show begins. A band of various birds wearing ponchos and cloth hats sit down by the show platform. They play their instruments (flute, guitars and a drum) and count in the performance.

Audio: The vocalist makes more short bubbly chirps. They grow higher in small strings of notes until the phrase ends with a low long note.

(“Bom-bom, t-bom-bom-bom, mbom-bom wiii…”)

Visuals: Five owls appear, bathed in magenta spotlight before the center tree trunk. All of them have their yellow-spotted wings wrapped to mostly cover their black and gold-trimmed dresses. The four owls on the sides are short and red, while the one in the center is tall and bright purple. As all five begin to sing a golden song, they operatically open their wings and extend their feathers. As the light darkens to violet, the black and gold patterns in the folds of their wings leap out as if exposed to blacklight. They extend their arms upward and then double over to kneel on the stage, fully splaying their wings in a dramatic display. The woman watching is transfixed.

Audio: The vocalist rolls a noise from the back of her throat. Once, twice, three times–before hitching the roll up and down and letting it trail off. The flute makes a low hollow arc of a note.

(“Ghhh, ghhh, ghh gh-gh-gheee…”)

Visuals: Cut to the next performance. Two teams of blackbirds with long waving feathers compete, standing on each other’s shoulders to form two pyramids. The one at the top of each team lunges forward to try to strike the other with a long stick, propelled by their team. Their feathers glow with yellow light from above. The team on the left—with orange vests and red sashes—strikes first, only nearly missing. They gloat as the lime vest and green sash team on the right recoils and protests. Then, it’s the green team’s turn to take a confident lunge, forcing the red to frantically pull back in time to dodge. On the next strike, the red team buries the stick in the top of the enemy pyramid (actually tucked under the green leader’s arm). The victim feigns a mortal wound, and the entire team flies away. The red team poses, victorious. The red leader gets down to the floor to greet the widow of the green team, wearing a green dress. She peers at him from behind a silky black wing. As soon as he lands, she whacks him over the head with her own concealed stick. He is surprised. She is unamused.

Audio: The vocalist lets out a ghostly wail that wavers wildly like an eerie wind, higher and higher. A shaker instrument rumbles beneath her voice.

(“Woaaa… woaaa… woaa–”)

Visuals: Next, it’s dark. Three colorful birds in masks and costumes tread the air at an angle on the left side of the screen against a blue and green background. There’s a yellow spiky one, representing lightning. A blue round-feathered one, representing rain. And a spade-feathered green one, representing trees. Long beaded threads tied to their wings and tails wave and tangle across the screen as a group of five hummingbirds in shades of red struggle to survive the “storm” raging around them. The colored ribbons of the central tree are muted and flutter with the power of the wind. Two other birds hug the trunk, nearly out of sight. There’s a prop on the floor to the right made to look like a stone alcove, where more hummingbirds are hiding. The storm bringer birds beat their wings hard, casting the strings of lightning, water, and leaf shaped beads in huge chaotic waves. The five hummingbirds in vests and dresses wince and tumble against the wind, flying together in a tight circle. The threads crisscross behind them, an overwhelming force on the tiny birds’ scale. A red line of song floats up to reach them, guiding them down to the nest.

Audio: When her wail is at its highest, the vocalist pushes it further into the voice of a shrill songbird. The note hangs high in the air, then takes a few steps down and up. The segment ends with the sudden interjection of the low round voice–as if in surprise–and a trailing mumble.

(“Haaa, aa-aa aa-aa aa-aa, hoa? Ah, bw-huh…”)

Visuals: Those in the stone nest finish singing and reunite with the others, pulling them down to safety. A blackbird hiding behind the trunk spreads its wings, sitting on the shoulders of a brown woodpecker. The blackbird’s vest and wingspan are covered in yellow, signaling the coming of daylight. The storm birds retreat and sit still on a nearby branch. The wind is suddenly gone.

Audio: The guitar plays alone.

Visuals: After the stage performances, the audience members move back to the platform. They’re gathered off to the far left side of the central tree trunk, standing in a circle around a single figure. The light of the gathering area is deep plum-purple in far off areas and warm dull pink over the crowd. The empty space around the single dancer is salmon red, and the figure herself is blue.

Audio: The vocalist perfectly mimics the sound of a flutter, of delicate waving in the wind.

(“W-w-w-w-w-w-w”)

Visuals: The camera zooms in on her hand as it flits a pink handkerchief in the air.

Audio: The vocalist belts a pair of bold staunch vocables. The second note is held for several seconds before fading out.

(“Kyen, kyen…”)

Visuals: The camera pulls back to reveal the rest of her. She’s a blue eagle with wings that grade from red at the arms to pink to blue at the wingtips in a wavy pattern. Her smiling beak is bright pink. Her dress is royal blue with reddish-pink trimmed ruffles on the hem of the skirt, waist frill, neck frill, and the flower decoration on the side of her head. She stands with the hem of her dress in one hand and the handkerchief extended in the other in an open invitation to dance. A pale pink spotlight frames her head and shoulders against the darkness, and a dark pink line of song passes behind her. Her partner, an eagle of the same coloration with a blue vest and pants, pink shirt, pale orange sash, a blue hat in one hand, and a pink hanky of his own raised in the other, is calling to her. He puts his hands behind his back and takes high steps toward her. When the two are close, they turn and walk parallel to each other in a slow circle. The male’s back is to his partner. He looks at her over his shoulder with a smile and abruptly splays his feathers to be cute. There’s a layer of pink under his outer coat. She grins, entertained.

Audio: The vocalist repeats the two vocables, twisting the end of the second up into a high wavering trill that eventually soothes and disappears.

(“Kyen, kye–eee, ee, eee, ee…”)

Visuals: The two turn to face each other, circling tighter and tighter in unified song until they’re face to face, looking deep into each other’s eyes. With another turn, they’ve passed by each other and out of sight.

Audio: The vocalist makes a whisper, a ghost of the two vocables. Then, a few quick whistles, barely loud enough to hear.

(“Hyo, hyo”)

Visuals: The woman, who has been captivated by the dance, suddenly notices that the crowd has dispersed around her. Partners are walking off in all directions, leaving her alone. The dance is over.

Audio: The guitar picks up, getting faster and louder for a bit.

Visuals: The woman walks alone in the blue night air along a tangle of tree branches that form a pathway. She walks with her hands behind her back, her face looking preoccupied and a little disappointed. Bushels of soft leaves pass by in the background.

Audio: A high, light pleasant note from the vocalist overtakes the guitar. It grows until it fills the soundscape.

(“Aaa…”)

Visuals: An orange song reaches her from the direction she came, and she stops. When she turns, she sees a blue swift standing on the branch path, far behind her in an opening in the trees. The underside of his feathers is dingy orange, and he’s wearing a black vest, white pants, a rusty red sash around his waist, a bright green kerchief around his neck, and an orange rectangular accessory tied around his neck like a necklace. His face is obscured by a white hat with an orange band. He bows low with a hand on the hat. The hat comes off, revealing inviting eyes and a smiling orange beak. The woman grins and accepts the invitation with determination.

Audio: The vocalist draws long high vocables that resemble a wail. They trail off with a low note.

(“Whoa whoaaa…”)

Visuals: She and the swift untie the fabric around their necks and step toward each other as the line of song forms a ring above them. The woman holds the ends of the shawl in her hands and her hands at her hips with the body of the shawl hanging behind her waist. The bird holds his kerchief out in one hand with the hat in the other, held behind his back. He takes measured winding steps along the branches. The woman mirrors his steps, then pushes off of the main path and lands on an outcropping branch.

Audio: The vocalist’s song wavers back up and demurely bobs up and down, intertwined with tweeting from the flute.

(“Hoa…  ohee…”)

Visuals: Her voice, seafoam green and a little stronger than before, trails behind her. She darts back onto the main branch and ducks behind the bird, then circles around to face him, the two only a few feet apart. They exchange steps pushing the other forward and back and flicking their garments in time with their movements. The woman’s voice grows stronger, nearly matching his. The bird quickly catches up as she moves backward, dancing beside her. The two dancers then leap from the main branch and fall down into the rocky forest below, passing by grassy plateaus and vines creeping through stone. Their song follows all the way down. They leap across boulders in the moonlight, side by side. The swift suddenly stops and folds his kerchief around the center of the shawl, hitching the two together. 

Audio: The vocalist belts a complex series of syllables that mimic the heavy majestic cawing of a large bird or hawk. The flute makes itself known a little as the voice fades out.

(“Hlau-lau-lau hau-au-wau-wa-wiii…”)

Visuals: The woman, at the receiving end of the momentum, is swung wide and lets out a vibrant complex line of song that could match any bird’s. The two pull closer to each other and end their song on a low steady note. Then, they bow to each other as the camera pulls back. They’re standing on a rock that rises above a basin of  water among huge formations of rock. Pairs of birds dance all around them in the shallows.

Audio: The guitar takes over for a bit.

Visuals: The camera cuts to an upward view of a varied group of birds sitting in branches, staring downward with interest. The light from the moon coming down through a break in the trees above is now cool green. The light coming up from where the birds are looking is orange-red. 

Audio: The vocalist lets out the aggressive growling of a cat.

(“U-wau, wau-wau-wau-wau”)

Visuals: Below, the woman is dancing in a line with three reddish woodpeckers in a greenish clearing in the trees. They wear intricately detailed dresses in different combinations of bright green, yellow, red, and black with geometric and floral embroidery. The dresses are cinched at the waist with a piece of fabric covered in colored bands. Their heads are covered in scarves with the same colors and patterns. They sing and step aggressively toward the left of the screen. At the other side of the clearing, a line of four red and white faced woodpeckers with green beaks and wings face right. They wear bright green hats, kerchiefs, and sashes, yellow and black striped vests, and dark red pants with yellow tassels at the ankles. Their black shoes tap against the ground as they make quick little dance steps and flutter yellow handkerchiefs. They hold onto the brims of their hats and then lean down with a flourish of their arms, exposing the red crests of their heads sticking up underneath. The dance then changes formation. The girls dance in a line to the left as the boys step in a line to the right. 

Audio: The growl hushes down to a wavering whisper, like wings beating in the dark.

(“Tchwahh-cwah-cwah-cwah-cwah-cwah-cwah-cwah…”)

Visuals: Out on a cliff by a waterfall, the scene is bathed in cyan. The line of dancers–alternating male, female, male, female–do a hopping dance from partners on the left to those on the right and back again as they move along the cliff, passing behind the waterfall as it disappears into the greenery in the foreground.

Audio: The guitar asserts itself again.

Visuals: Everything is suddenly red. A guitarist in a blue poncho and a red neck sash frets the neck of a guitar with a brown feathered hand. Rainbow ribbons are tied to the headstock. A deep orange song emanates from the strings.

Audio: The vocalist quickly accompanies the guitar with a harmonized version of the growl that revs up climatically, taking steps up the scale until it’s at its absolute height.

(“U-wa-wa ee-ee eh-oh! Oh-oh-oh-ohh!”)

Visuals: A congress of the partygoing birds stand in lines facing each other, all wearing blue outfits with red kerchiefs with rainbow tassels on them. The group jumps up and down in unison as part of a dance. The party breaks into smaller dances, and the woman dances by herself. She’s wearing a green skirt and flowy purple top with red underskirt, waist cinch, and scarf. Rainbow tassels are attached to the overskirt, and they swish with her movements. Beside her are a hawk woman and a pair of long billed bird men dancing in a circle with their ankles locked. A pair of red birds with white streaks on their wings suddenly hoist the woman into the air, as other birds are hoisted in the distance. As she’s held aloft, she sings and spreads her arms, revealing more tassels on her top, resembling wings. Her song is immense and beautiful. The camera focuses on one of the hoisted birds in the background, who has executed a handstand with the person who threw them. The blackbird’s feathers are all sorts of bright colors. The song passes by behind him. The excitement of the party disguises the presence of a looming pair of yellow slitted eyes peering out from a dark spot between the leaves nearby. A trio of purple pigeons dancing in a line with twigs and colored strings in their hands dip and weave together. The one in front balks, noticing the threat at last.

Audio: The high energy of the music suddenly cuts out. The shrill call of a small bird climbs up out of the silence.

(“Eee…”)

Visuals: A striped short legged pampas cat pounces into the center of the dance field. It misses the birds, but the illusion is shattered. The bird people are just birds again. They fly in a frenzy up through the trees to the safety of the early morning sky. The hilltop erupts with silhouettes of wings.

Audio: When the small bird’s call is at its highest, it tumbles back down and transforms into a low disquieting wail. The guitar re-enters.

(“Ee-ee-ee-ah-ahh ahh oohhh…”)

Visuals: The pampas cat has retreated into the dim tawny forest. It stands on a bent tree branch among bushes and hanging moss and stares into the camera with glowing yellow pupils. A tiny rodent scurries by and into a bush. The cat notices and darts after it. Nearby, dozens of bats hang from the underside of a rock formation that extends over a field of berry bushes. Their sleepy heads are tucked into their folded wings. A straggler flaps up to join the rest as the sun continues to rise. Elsewhere, a hive with wasp-like insects resting on the outside hangs over a rock. Sunlight gleams over the scene from a break in the trees in the background. A large brown mouse climbs up on the rock, backlit by the sun. It grabs a wasp in its teeth and leaves before the rest of the hive can wake up.

Audio: The vocalist makes a low steady murmur. A couple shakes from the shaker instrument follow.

(“Hoo…”)

Visuals: A colony of green and brown frogs with purple eye ridges, yellow faces, and orange bellies are asleep on dewy ridges of rock. A green cicada hangs out on a leaf off to the top left corner. The mouse jumps down through their resting spot, waking them all up. The frogs croak a green song as the cicada hangs on for dear life on the swinging leaf. The wind moans through the crevices of another stone forest. The little flowering shrubs that grow on the rocks bristle in the breeze. A variety of green, yellow, and blue lizards poke their heads out of the rocks, into the morning light.

Audio: The vocalist repeats the murmur. The flute follows this time.

(“Hoo…”)

Visuals: The camera pulls back to view the entire rock formation. The still rising sun shines only on the top half of right-facing stones. Long spindly tree trunks grow from the top left, out of sight. Long grass waves on the ground below. An alpaca-like vicuña raises its head from the long grass, facing the light. In the branches of the trees above, various birds perch facing left.

Audio: The vocalist makes a mysterious sound that begins as a harsh sound between her teeth and ends as a whisper. It echoes in the background.

(“Chwah-ah…”)

Visuals: The camera turns back to the village. Golden light casts diagonally across the brown roofs and tan buildings. The silhouette of a small bird flies toward the center of town.

Audio: The vocalist makes the sound again, then pulls the whisper up into a harsh repeated rasp from the back of her throat.

(“Chwah-ah qwah-qw-qw-qw-qw-qwah-qwah-qwah”)

Visuals: Down in between the one-story houses, the bird flutters down. Long shadows lay across a passage leading toward a door on the side of a building. We see the shadow of the woman land in the soft dirt path where the bird’s would have. She heads toward the door at a walking pace.

Audio: The call returns to a whisper. The vocalist clicks her throat in a short series of hollow sounds, nearly like the creaking of wood.

(“Qwk-qwk-qwk-qwk-qwk, qwk qwk qwk qwk”)

Visuals: As she opens the door to enter the purple interior light of the house, we see that she’s back in her green dress, but now her shawl is red. The sun glints in her hair. Before she goes inside, she looks back and winks at the camera with a smile. Then, she slowly pulls the door behind her until it’s shut.

Audio: The vocalist lets out her breath entirely as the accompanying music trickles into silence.

(“Haaa…”)

Visuals: The screen is black for a few seconds.

Audio: The high whistling call of a green manakin can be heard over the rustling of forest trees. The call’s tone is raised at the end, like it’s asking a question.

(“Twee?… Twee?… Twee?… Twee?”)

Visuals: The end card appears. Yellow and green lettering and a border lay on a black background. The text reads: Yma Sumac. Peruvian soprano and composer. October 13th 1922 until November 1st 2008. Biographical and reference info in description. Chuncho, 1953. Written by Moises Vivanco. Capitol Records, Universal Music Publishing Group. Carlie Hughes. Tumblr @rainbowchewynuggets. www.carliehughes.com. End ID]

INDEX

[marineratls]

37 GRAN CONCURSO DECANO DE MARINERA Y TONDERO TODAS LAS SANGRES

🔸Cierre de inscripciones 31 oct.

Link de Inscripción 👇🏼

https://eventos.pasosnuestros.com/public/concursos/todas-las-sangres/

[agendaculturaldelima]

#SinMusicaNoExisto

🎶 “CANTAUTORA”💃🎵🎹 🎉🥳

💥 Lourdes Carhuas Rivera, artista con cuatro décadas de trayectoria, nos ofrece un viaje musical nos conduce por diversos géneros peruanos como la zamacueca, el vals criollo, el festejo, el tondero, la marinera, y el landó, y géneros latinos emblemáticos como el bolero.📻👑🥁

👩 Lourdes Carhuas

© Le Miau Studios.

📌 CONCIERTO:

📆 Domingo 29 de Setiembre

🕔 5:00pm

🏡 Restaurante Cultural Tierra Baldía (av. Del Ejército 847 – Miraflores)

🎟 Entrada: S/.50

📱 Reservas: 930136009   

[random-racehorses]

Random Real Thoroughbred: TONDERO

TONDERO is a horse born in Argentina in 1981. By TAN PRONTO out of GATUBEDA. Link to their pedigreequery page: https://www.pedigreequery.com/tondero2

[bitacoramostaza-ai4]

¿Esta música qué me genera?: Vals y Polka

¿Qué géneros están relacionados a lo que llamamos música criolla?

Pese a que originalmente la palabra criollo proviene de la denominación para la descendencia española nacida en américa, lo que hoy llamamos criollo ya no tiene que ver con esa idea. Lo vinculamos más bien a un espacio concreto que es Lima, y lo relacionado a lo limeño. Aunque cabe precisar que los límites de lo cultural son ambiguos.

Géneros asociados a lo criollo:

Vals (2 variantes: el lento o solo Vals, y el Vals jaranero)

Polka

Afroperuano* (se separa de la clasificación de criollo para ganar visibilidad)

Marineras

Tonderos

Vals 1 "El puente de los suspiros"

::Cariño, afecto, romanticismo, añoranza, paseo de la mano, extrañar, amor dulce e íntimo.

Vals 2 "Mariposa del amor"

:: Coqueteo (en las cucharas o castañuelas del inicio), cortejo, lo efímero de lo bello, libertad, disfrute del presente, ironía o cierto despecho pasivo-agresivo.

Vals 3 "Recordando a mi madre"

:: Conquista (en la intro instrumental), abrir el corazón, agradecer el amor maternal, cariño, sentimentalismo, pena, vulnerabilidad.

Vals 4 "El regreso" (o Ciudad Blanco). Es un vals andino, no tiene percusión.

::Añoranza, nostalgia, lejanía, pertenencia/ patriotismo, melancolía.

Vals 5 "Recuerdos de Cusco". Vals andino

::Elegancia, señorial, solemnidad, me recuerda a una procesión o a un entierro (cepelio).

Polka 1 "Jálame la pitita"

:: Juego grupal, compañerismo, ternura alegre, algarabía.

Polka 2 "Mujer ingrata"

:: Despecho, victimización, desamor, tomar con amigos por desquitarse, indignación, dolor en la letra pero la música me inspira sonreir, desahogarse.

Polka 3 "Aire, mar y sol"

:: paseo feliz, disfrute del aire libre, costa, mar, litoral, alegría, jorgorio, celebración.

Polka 4: Carnaval limeño, de Filomeno Ormeño

::Coral, alegría, festejar, homenajear con alegría, espíritu victorioso, entretenedor, me recuerda a las Tunas en la entonación coral.

[pochaulloac]

DAMA VIRTUOSA 

A: Olga Campoverde. 

Mi madre que le cantaba a todo. 

(Compro su tocadiscos devolviendo a la abuela el fonógrafo) 

Canta al amanecer con su voz de soprano 

Imitando a las aves en su presuroso vuelo 

Entona alabanzas al creador 

Con el suave Ave María en LA mayor 

Susurra en contralto el latir del corazón. 

Al paso de las horas todo el día 

Embelesada en notas musicales variadas 

Alumbrada de un tango a un bolero 

Que crispa los sentimientos y caen las lágrimas 

Alegremente de Matancera a Chachacha 

Sus pasitos coquetos de cumbia colombiana 

Con su guapaje de pollera colorada 

Entristece mirando el cielo con voz ronquita 

Huapangos de cielito lindo y bésame mucho. 

En los quehaceres de medio día la música tradicional 

Interpreta vals, marinera, huayno, tondero 

Mientras adereza los potajes sabrosos 

Que servirá a los comensales que la admiran 

Por ser tan laboriosa tras esos ojos verdosos de pestañas bellas 

En la tardecita sufre con los pasillos, sanjuanitos 

Y toda tonada de amor doloroso de los monitos apasionados 

Energía renovada camina al parque a contemplar las retretas 

Emocionándose con las marchas militares, patriotas y escolares 

Para retornar con los agudos salve salve al Dios protector. 

Recuerdos tan bellos que escapan el don del pentagrama 

Sus manos recorriendo las teclas con notas clásicas 

De Mozart, Chopan, Schubert y cantos gregorianos 

¡Qué amor por la música tras las arpas del recuerdo! 

Aplausos siempre aplausos y felicitaciones 

Más en su época las grabaciones eran escasas 

Hoy sería una Diva, enamorada de todos los estilos 

Inventando y creando pasos de baile 

Componiendo cuentos maravillosos 

De estrellas galácticas entre sonrisas de payasos. 

Enamorada del arte  

Damita virtuosa 

En casa del todopoderoso 

cantando las melodías entre el cielo hermoso y celeste 

Endulzando los días. 

[marco-roman]

Heriberto Tejo: «Platero, como era blanco / y no tenía disfraz, / creyó que comiendo flores / luciría de colores / la noche de carnaval. // Tantas flores comió / tantas las veces, / que su anhelo se cumplió / pronto y con creces. // Y ahí lo vieras a Platero / la noche de carnaval / bailando huayno y tondero, / marinera y alcatraz, / con sus orejas de malva, / la cola de tulipán, / verdes las patas de alante, / rojas las patas de atrás, / y la barriga amarilla / de tanta flor de azafrán. // (Platero, lindo Platero, / arlequín de la ilusión, / ¡quién te pudiera llevar / pintado en el corazón!)» (1989: 12).

[punofolk]

ENTRADAS FOLCLÓRICAS DEL PERÚ

El folclore peruano es extremadamente diverso y rico debido a la variedad de culturas y regiones en el país. Aquí te presento algunas de las expresiones folclóricas más destacadas de Perú:

1. Marinera: La marinera es una danza típica peruana que se realiza en todo el país. Cada región tiene su propia versión de la marinera, pero la m��s conocida es la marinera limeña. Es una danza elegante y sofisticada que representa el cortejo entre un hombre y una mujer a través de movimientos gráciles y pañuelos.

2. Huayno: El huayno es una danza y música tradicional que se encuentra en todo el país, con variaciones regionales. Se toca con instrumentos como la quena, la zampoña y el charango. Los trajes tradicionales de los bailarines varían según la región.

3. Diablada: Originaria de la región de Puno, la diablada es una danza que se realiza durante el carnaval. Los bailarines se visten con trajes elaborados de demonios y ángeles y realizan movimientos acrobáticos y enérgicos.

4. Tondero: Este es un baile típico de la región norteña de Perú, especialmente en Piura. Es una danza alegre y festiva que representa el cortejo amoroso entre un hombre y una mujer.

5. Danza de las Tijeras: Originaria de la región de Ayacucho, esta danza es realizada por "tijereros" que realizan movimientos acrobáticos con tijeras grandes en sus manos. Es una expresión folclórica impresionante que combina destreza física y espiritualidad.

6. Cajón Peruano: El cajón peruano es un instrumento de percusión tradicional que se utiliza en la música criolla y folclórica del país. Es especialmente importante en la música afroperuana.

7. Marinera Norteña: Además de la marinera limeña, la marinera norteña, especialmente la de Trujillo, es muy popular en el norte de Perú. Tiene un estilo propio y trajes distintivos.

8. Tuntuna y Caporales: Estas danzas son parte de la cultura afroperuana y tienen una presencia importante en ciertas regiones de Perú, como Puno. Presentan trajes coloridos y movimientos enérgicos.

9. Huaconada de Mito: Esta danza es única de la provincia de Concepción, en la región de Junín. Los huacones son personajes míticos que danzan en procesiones y representan la cultura local.

10. Wititi: Originaria de la región de Arequipa, el wititi es una danza que celebra el amor y la fertilidad. Los bailarines visten trajes llamativos y realizan movimientos coordinados al ritmo de la música.

Estas son solo algunas de las expresiones folclóricas más destacadas de Perú. Cada región del país tiene sus propias tradiciones y manifestaciones culturales que hacen que el folclore peruano sea increíblemente diverso y enriquecedor.

[latestmoviesblog]

 El Deseo, Infinity Hill and Tondero Team Up for Hostage Crisis Drama

In what marks the most ambitious film from Peru’s leading producer Tondero and, most likely, Peruvian cinema in recent times, Pedro Almodóvar’s El Deseo, Infinity Hill (“Argentina 1985”) and Tondero have joined forces to co-produce a drama based on the hostage crisis that took place at the Japanese embassy in Lima in 1996. El Deseo executive producer Esther Garcia and Infinity Hill…

[andreandreuchi]

Tondero 📷 @adrianalalala_ . . . #project365 #day42 #portrait #dancer #nikkei #artistanikkei #tondero #Piura #filigree #traditionaljewellery #traditionaldress #traditionaldance #Perú #peruvianfolk #folklore #art #artist #instaart

[vladimirsalasvega]

YESTERDAY!! Donde este y como este...... con estilo Moqueguano Tondereando viviré. 25 años de Patrimonio Cultural de la Nación!!! La mejor forma de ahogar mis penas. #TonderoDeCorazón #EstiloMoqueguano #SentimientoHechoTondero #TONDERO 💕 25 años Patrimonio Cultural de la Nación !!! El tondero tiene muchos años como Patrimonio Cultural de la Nación y 300 años de tradición. Es una de nuestras expresiones culturales que representa la fusión entre ritmos indígenas, españoles y afroperuanos. Por ello, desde el Ministerio de Cultura le rendimos tributo y hacemos votos para su difusión, promoción y preservación por ser una danza que no solo es motivo de orgullo en el norte, sino en todo el territorio nacional”, refirió la titular del sector. #FolcloreNacional (en Moquegua) https://www.instagram.com/p/CEVwoPxDC8r/?igshid=1rqsbtbc6fnpi

[agendaculturaldelima]

#ProyeccionDeVida

🌎 Cine Club del Banco de la Nación, presenta:

🎬 “SOLTERA CODICIADA” 💁🏻‍♀️😎 👩🏻‍🏫🗒️

🔎 Género: Comedia

⌛️ Duración: 101 minutos

🎼 Música: Jorge Miranda

✍️ Guión: María José Osorio

📷 Fotografía: Roberto Maceda Kohatsu

💥 Argumento: Cuando su novio de seis años termina la relación de un momento a otro, María Fe debe lidiar con un corazón roto que no parece curarse con nada. Después de varias noches de lágrimas (y alcohol) y alentada por sus amigas, decide desahogarse de la única manera que sabe hacerlo: escribiendo. El resultado es un blog donde se ríe de las desventuras de la soltería y las relaciones y que tendrá un éxito inesperado. Pero cuando el fantasma del ex reaparece en su vida ¿podrá María Fe seguir sus propios consejos?

👥 Reparto: Gisela Ponce de León (María Fé), Karina Jordán (Natalia), Jely Reátegui (Carolina), Christopher Uckermann (Santiago), Andrés Salas (Matias), Yaco Eskenazi (Andrés), Carlos Carlín (Ramiro), Kelly Lynn Reiter (Yoga Instructor), César Ritter (Lorenzo), Chiara Pinasco (Bride) y Nicolás Galindo (Charly).

📢 Dirección: Bruno Ascenzo y Joanna Lombardi

© Productora: Tondero Producciones

��� País: Perú

📅 Año: 2018

📽 Proyección:

📆 Viernes 05 de Julio

🕡 6:30pm. 

🎥 Auditorio Artes de la Nación (av. Javier Prado Este 2499, 5º piso - San Borja)

🚶‍♀️🚶‍♂️ Ingreso libre, previa reserva: https://info.bn.com.pe/CineClubBN_Viernes

👀 A tener en cuenta: Película recomendada para mayores de dieciséis años. (16+)

[lirulii]

They're WIPs and I sold my soul to Satan for the detail patience so!! Here!

They

[random-racehorses]

Random Real Thoroughbred: ALDO

ALDO is a horse born in Columbia in 1951. By TONDERO out of ALDONSA. Link to their pedigreequery page: https://www.pedigreequery.com/aldo5