Canarian folk music

Yauci Rodrguez Salazar 2ESO B n26

INDEX:
1. History
2. Dance

3. Instruments

4. Songs

1. History :
Canary popular music was born under many
cultural, European and American influences,
which enriched the islands along its history, without
forgetting the traditional Aboriginal rhythms. The
Isa ", Folia and Malagueas are the most
popular rhythms of Islas Canarias.
In Tenerife, there many group folk who play
traditional music at parties and pilgrimages, but it is
very common to see people partying (groups of
musicians and singers) sing about a good
restaurant.
Traditional music is classified into three different genres. The first includes the oldest rhythms
romantic ballads, work songs, and tajarastes among many others. Other rhythms include Folias
Malagueas jumpy and Tanguinillos and, of course, the "isa. In the modern genus found
polkas ", mazurka Cuban sons and other rhythms of South American origin.
The traditional Canarian music, like every culture, is characterized by the confluence of
different influences that arrived in the islands. Since the substrate provided by the old settlers called Guanches-generalizadamente with influences from its conquest and, later, colonization:
mainly Spanish, Portuguese, Central...
However, it is a demonstration that, over time, has taken his own idiosyncratic personality
picking Canary Islands. So, the Canarian folk music differs from that at the time was the original.
Standing out today, the variety and richness of their songs and dances.
At the time of the conquest and colonization of
the Canary Islands, was expanded by European
courts, called Dancing Canario. Dance practiced
by aboriginals of which only references.
Apparently current tajaraste dances like the
tango or sirinoque herreo maintain relationship
with "El Canario." Of these, the palm is the most
sirinoque Indian influence has.
By the sixteenth century, we find a type of
funeral songs as a lament, the Lays, which have
their origin in the island (possible Jewish
contribution) but rooted both in the Canarian people that were included in the song of the time as
lays Canaria ". The descendants of the aboriginal singing in their own language.
The traditional Canarian music is the result of numerous cultural, European and American
influences that have enriched the islands along its history, not to mention the survival of some
native rhythms. The isas, folas and Malaga are surely the best-known rhythms canary rich folklore.
In Tenerife there are many groups who play traditional folk music festivals and pilgrimages, but it is
very common for Tenerife meet binge for impromptu singing around a good table.

Traditional music is classified into three different genres. The first brings together the most
ancient rhythms: romances, mourning, work songs, tajarastes and many others.
The gender of the eighteenth includes folas, malagueas, the hoppers and tanganillos and isas.
The modern gender groups, meanwhile, polkas, mazurkas and even Cubans points.

2. Dance:
News of the chroniclers about Aboriginal
dances are no less vague than those relating to the
songs. Essentially, it seems to show through there
were only two ways in which our former dancers
accustomed to arrange: wheel and in facing rows.
These two organizational schemes in 'chanted' or
collective dances were similar to those that
prevailed in Europe at that time. The observation
of these two types of dance in the Canaries is what
makes declare Recco, depending on the version attributed to Boccaccio concerning the expedition
visited the islands in 1341 manuscript, the dances of the aboriginals were similar to those of French
peasants. Going further into details, news of our chroniclers enough to give us an idea that these
forms corresponded to dance three main reasons: competitive dances, ritual dances and festive
dances. This difference should be well defined in almost all the islands, they seem to agree, despite
their different cultures, in the distribution of such forms.
Competitive dance, it seems had higher intensity in Gran Canaria and La Palma, were made
with sticks that dancers deftly manipulated to show their skills. Dances like the aforementioned
sticks for our not devoid of sense true warrior chroniclers, can be seen even today among certain
groups of our neighbors Saharan African coast, being curious to note that usually make up one of
the numbers in forced marriages holding it also sets Sedeo Aboriginal Gran Canaria.
Ritual dances, prayers for rain and religious ceremonies were in wheel as Abreu Galindo says.
They consisted of dancing around a religious symbol, and this was a rock, a cairn or stick-shaped
spear stuck in the ground (perhaps a kind of idol). This dance form is documented in several islands
by different writers. About Embellishment of the dancers are told nothing except for certain prayers
were in their hands sticks or branches of trees, especially in Gran Canaria.
The festive dances observed a somewhat messy way (which is to be interpreted when Abreu
Galindo says "in Folia '). Two rows of dancers facing who, giving graceful jumps, approaching and
receding from each other. It's what, speaking in technical terms is called "Dance of formal and
rejection." This is funny jump dance which became known as the Canaries, who went to Spain with
the Canary slaves and there was adopted first popularly and then in court circles, then in Spain jump
to Europe.
There are several writers (not just in the Canaries, but also pigs) that give us faith in this
authentic dance canary island origin. Interestingly, entered from the sixteenth to the early
eighteenth, dance treaties published in various European courts still respecting the original form of
the dance choreography describing the chroniclers: the facing couple that joins and separates with
funny leaps and taconeos. Arguably, the canary has been the most important cultural contribution to
our European Aboriginal islanders.
Do not want to close this section without referring to the many figures in dancing attitude, some
with a stick in hand, appearing between Canyon petroglyphs Balos (Gran Canaria).
This is not surprising when you consider the insistence of the chroniclers emphasizing the long
time that Aboriginal engaged compete, sing and dance. What we are interested in these rock
carvings is the reiteration of the phallus in the figures, detail is also highlighted in some Aboriginal
idols found in Gran Canaria. Would there be a phallic dance?

A do

not we would pay more attention, given the profusion

of such engravings elsewhere, if recently we had not
found throughout the canyon Guayadeque ancient and
important neighbor Balos Aboriginal settlement, the
existence of a curious phallic dance of formal and
rejection to the dawn of our century: anyone can ask
there for "the dance of the broken branch" which is alive
in the memory of many people. As is known, the phallic
dances are usually related communities whose survival is
threatened, case in which very well could be the first waves of settlers
to arrive in the islands, and their function as fertilizer rite, to dignify and encourage procreation in
an official manner, so to speak.
Each island has its own traditional songs and dances that add richness to the Canary folklore:
- El Hierro: Baile del vivo, Tango herreo and Baile de la Virgen
- La Gomera: El tajaraste or baile del tambor.
- La Palma: Sirinoque, Aires de Lima, Baile (or romance) del trigo, Danza de los enanos.
- Tenerife: Lo Divino, Santo Domingo and Tango de la Florida
- Gran Canaria: Mazurca, Endecha and Aires de Lima.
- Fuerteventura: Polca, Siote and Berlina.
- Lanzarote: Sorondongo, La Zaranda and Ranchos de pascua.
The canary has a clear peninsular dance influence, although some of their dances are from the
folk tradition of its former inhabitants. The last aboriginal dancing is recorded we survived with few
changes until the nineteenth century. Some of its features are in sirinique dancing, traditional island
of Palma.

3. Instruments:

The chronicles and histories of the conquest of the islands attributed to a poor Aboriginal
instrumentarium. Only Viana talks about reed pipes , drums and bagpipes with
mouthpiece stem internodes of barley (certainly a type of single reed) and
declares that unknown string instruments . This information, which follow
Nez de la Pea, Viera and others you have to discard it completely, since it
refers to a rural instrumentarium the second half of the sixteenth century ,
whose elements are the result of a phenomenon of acculturation , which
predominates the contribution of Hispanic origin . The drum of any kind is not
only unknown in the oldest chronicles, but even the archaeological store for us
among the findings so far, nothing I can asemejrsele .

Oldest chroniclers tell us that the natives lacked instruments and their sounds
were produced only singing and primary and foot percussion. Escudero added
that Gmez de la Gomera singsong were also shaking pebbles in a clay pot ,
very interesting observation which is then repeated similarly in Tenerife, in times of Viana. For the
rest, nothing. Some instrumental ritual actions such as the beating of sticks in dances or hit the
water in rain ceremonies prayers are cited, but the chroniclers attribute to them any organogrfico
value, although they do.
The archaeological remains add little more: First, poorly developed sound necklaces and
probably used in ritual dances the most important elements, appearing mainly in La Palma and
Lanzarote are beads made with tough marine snails.

Our attention after the discovery in Tenerife some ' spatulas ' small bone,
seems to denote the type of prior knowledge or zumbaderas bullroarers,
these instruments generally related to hazing. We refer , finally , two pairs
" boomerangs " found in a burial of La Palma , whose typology generally
leaves no doubt about its relationship with African models this
difundidsima throwing weapon , while wrought handle our dogs give
pause to infusionists ethnologists, as it represents a typological trait
seems to typically Mesoamerican .

which
of

We want here to emphasize the existence of these two pairs of palm sticks, given that, according
to Curt Sachs, are objects of dual functionality and is well established on five continents use as
clashing with the buds that produce rhythms in hunting and warrior dances. Weve hardly spoken of
bodily instrumental actions (beat and foot), according to the chroniclers, were the most common
and frequently throughout the Islands. But as can be seen, the body no musical instrumentarium was
very rudimentary and extremely poor, as even the very few findings can be given greater
importance because the current criteria applied to these cultural traits we see that , because of its
rarity , deserve more attention just inside the boundary. Its main value lies in the contribution that
their existence poses to refine the details of the pre-Hispanic forms of culture in the Islands and
typological other similar cultures of the Mediterranean area or neighbor linking Africa.

4. Songs:
We have to leave here all
beautician prejudice that comes from
our Western European culture and
respectfully contemplate what the
chroniclers tell us aboriginal song in
its various facets; and acclimating to
leave, saying that the great start
screaming at the time of the battle is a
very
usual
protohistoriadores
repeated throughout the Canary
Islands, to which we have to consider
here with all its importance as a
feature of a culture. Within this
framework of ritual songs also
contemplate the rainy rogativa as
great clamor , which added some
island in the bleating of thirsty cattle one desperate cry baifitos separated from their mothers, sound
mixing human and animal no little interest. Sometimes we are told that such was not crying, but sad
song with a massive interpolated entreaties to the main deity ; keep in mind that the chroniclers
judged what they saw or heard from what they knew , and that being a different European musical
system there is always a tendency to interpret as messy and sad what is not understood.
Some chroniclers were able to convey more detail certain ritual scenes. Gaspar Frutuoso tells us
a creepy religious sacrifice secretly referred by John Machin and its people in the Iron, which
ceremony was accompanied by impressive singing.
Abreu Galindo, moreover, does not describe the details of a palm tree ceremony playing the
letter of the ritual song " Dead animal and removed the entrails, were going with it two, and arrived
by Roque said the one with the singing asadura and iguida and iguan Idafe, which means " fall ldafe
says. And the other answered, singing:

That guerte yguan taro, which means give him what he brings and not fall. It is a testimony of
high ethnographic and musical value.
Overall , Aboriginal songs and produced a sense pitiful effect ; in them, according to testimony
of Gomez Escudero, a phrase repeated many times , for chorus , prompting Nunez de La Pea to
consider them as a banana . In another vein, we know that the rubber had songs of deeds, in which
the brave old recalled of the island; women of La Palma, exceptionally, singing with grace and
special grace, which, repeated several chroniclers; Gran Canaria in men and women gathered in the
houses of the villages to sing and dance, whose songs seemed " painful and sad, or loving or fatal "
cluster of attributes that Abreu Galindo not just told us much. This same friar tells us that when a
Tenerife Guanche was visiting another did not enter his house, but sat at his door and whistled and
sang until he heard from within; must not think to sing anything, but it was probably some
ceremonial chants and whistles to attract attention.