|
|
 |
Concert Review
|
| Click Here to go back. |
Napa Valley Register, Concert Review >>
|
|
Passionate Afro-Peruvian ensemble offers historical music and dance program to sold-out Opera House
By L. PIERCE CARSON
Register Staff Writer
When Americans think of Peruvian music, the first thing that comes to mind is Andean panpipes.
While the influence of African immigrants is well known in such music-rich countries as Cuba and Brazil, the African legacy within Peru has only gained notoriety in recent decades.
To understand this and delve into the musical heritage of this South American nation today, one must look to the early 1700s when Peru's slaves were banned from using drums. Fearful of communication between these indentured servants, the ruling colonialists forbade use of traditional African drums.
Ever resourceful, the African immigrants adapted their rhythmic songs to the "cajon" -- a wooden box fashioned from fruit crates.
As these immigrants were brought to Peru from diverse regions of the African continent, the music of Peru that evolved over the next two centuries amounted to a hybridization of African, Indian, Latin and European traditions.
Half a century ago, the African elements of Peruvian music were reborn, thanks in large measure to the founders of a song and dance troupe called Peru Negro.
Peru Negro was invited to perform at an Hispano/American Festival in Buenos Aires, where the group won the grand prize. Overnight, Peru Negro became a national treasure in its homeland.
Peru Negro's ascent came at a time when a new revolutionary military government sought to gain popular support through the promotion of indigenous Peruvian folklore. But the collapse of the military government and its cultural policy in 1980 put an end to much of Peru Negro's theatrical efforts. The company stopped performing in theaters and returned to its origins, entertaining tourists in restaurants and peñas, or nightclubs.
When founder Ronaldo Campos died in 2001, his son, Rony, took over Peru Negro's direction. Under the younger Campos, the group began to experience a revival. Yet it wasn't until 1995, when Luaka Bop released the recording, "The Soul of Black Peru," that people outside Peru became aware of the rhythms and sounds produced in Peru's coastal villages by the progeny of slaves brought to work in the mines.
Wine country residents had a wonderful opportunity to check out Afro-Peruvian music and dance Friday night when Peru Negro stopped off at the Napa Valley Opera House on its current U.S. tour.
Musical genres associated with black Peruvians now provide a rare commemoration of the black Peruvian struggle for racial equality.
Supplementing the percussive cajon with the cajita -- a small, lidded box used for collections in Catholic churches -- and the quijada de burro -- a dried-out donkey jawbone, plus conga and bongo drums, guitars and bass, Peru Negro offered a telling perspective of both history and culture in its Napa Valley debut.
The festejo -- which is derived from the verb festejar, which means to have a good time -- is one of the most frequently performed Afro-Peruvian song and dance styles. And the 10 dancers and like number of singers and musicians showed there was a lot to celebrate during its two-hour performance -- ranging from a festive representation of the mating ritual to a playful song and dance from the predominantly black community of Chincha that had an elderly fiddler insisting the younger generation dance to the tune he provided.
But all was not carefree, for Peru Negro examined the dark side of the Afro-Peruvian evolution. "De Espana" embodies the paradoxical influence of the colonialists who brought both slavery and Christianity to Peru. Poet Cesar Calvo's lyrics relate that "from Spain Christ arrived, but so did the master, and just like the master did with Christ, he took blacks and crucified them. ..."
There was also a most colorful "Son de Los Diablos," a song and dance performed by devil-masked jesters that often accompanies liturgical celebrations at home.
The only thing missing from the performance was a program insert giving a bit of background to all who aren't familiar with Peruvian customs and lore, and for those who aren't fluent in Spanish. It didn't detract from the enjoyment of the performance -- but more information could have added to the overall pleasure.
For example, colonialists of 18th century Lima were as pretentious as they were poor. The ensemble effected this bit of history, in delightfully mocking fashion as both male and female dancers breezed onto the Opera House stage in lace pechera (half-vest), cuello (collar) and puños (cuffs). This was intended to show Limans strived to show off their best attire, even if this was all they could afford. It seems in times gone by that people wearing their best lace accessories would wait at home until a member of the family or two returned so then he or she could borrow a cape or shawl to complete the outfit and make a proper appearance in the town. While this colorful dance was appreciated by the audience, it would have been even more poignant if all had known this beforehand.
But that's the price we pay was we eagerly soak up the world beat of both music and dance that Opera House executive director Michael Savage promised would come Napa's way with the restoration of this important venue. Judging by the thunderous applause from the sold-out house, it's safe to say that I and a Lima-born companion weren't the only ones who enjoyed the show.
| | | 02/01/04 >> go there
|
| Click Here to go back. |
|
 |
|
|
|
