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Candombe
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Candombe
Candombe is a style of music and dance that originated in Uruguay among the descendants of liberated African slaves. In 2009, the United Nations Educational, Scientific and Cultural Organization (UNESCO) inscribed candombe in its Representative List of the Intangible Cultural Heritage of Humanity.
To a lesser extent, candombe is practiced in Argentina, Paraguay, and Brazil. In Argentina, it can be found in Buenos Aires, Santa Fe, Paraná, and Corrientes. In Paraguay, this tradition continues in Camba Cuá and in Fernando de la Mora near Asunción. In Brazil, candombe retains its religious character and can be found in the states of Minas Gerais and Rio Grande do Sul.
This Uruguayan music style is based on three different drums: chico, repique, and piano drums. It is usually played in February during carnival in Montevideo at dance parades called llamadas and desfile inaugural del carnaval.
According to George Reid Andrews, a historian of black communities in Latin America, after the middle of the 19th century younger black people began to abandon the candombe in favor of practicing European dances such as the waltz, schottische, and mazurka. Following this new twist, other Uruguayans began to imitate the steps and movements. Calling themselves Los Negros, upper class porteños in the 1860s and 1870s performed blackface and formed one of the carnival processions each year.
African-Uruguayans organized candombe dances every Sunday and on special holidays such as New Year's Eve, Christmas, Saint Baltasar, Rosary Virgin and Saint Benito. They would set a fire to heat the drums and play candombe music, especially during the night in certain neighborhoods such as Barrio Sur and Palermo in Montevideo.
The typical characters on the parade represent the old white masters during slavery in old Montevideo city. It was a mockery to their lifestyle with a rebel spirit for freedom and a way to remember the African origins.
In 1913, an anonymous dance historian identified only as "Viejo Tanguero" ("Old Tangoer") wrote about the 1877 creation of a dance referred to as a tango but featuring ideas from the candombe. This dance, which later became known as "soft tango," was created by African Argentines.
Writing in 1883, dance scholar and folklorist Ventura Lynch described the influence of Afro-Argentine dancers on the compadritos ("tough guys") who apparently frequented Afro-Argentine dance venues. Lynch wrote, "the milonga is danced only by the compadritos of the city, who have created it as a mockery of the dances the blacks hold in their own places". Lynch's report was interpreted by Robert Farris Thompson in Tango: The Art of Love as meaning that city compadritos danced milonga, not rural gauchos. Thompson notes that the population of city toughs dancing milonga would have included blacks and mulattoes, and that it would not have been danced as a mockery by all the dancers.
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Candombe
Candombe is a style of music and dance that originated in Uruguay among the descendants of liberated African slaves. In 2009, the United Nations Educational, Scientific and Cultural Organization (UNESCO) inscribed candombe in its Representative List of the Intangible Cultural Heritage of Humanity.
To a lesser extent, candombe is practiced in Argentina, Paraguay, and Brazil. In Argentina, it can be found in Buenos Aires, Santa Fe, Paraná, and Corrientes. In Paraguay, this tradition continues in Camba Cuá and in Fernando de la Mora near Asunción. In Brazil, candombe retains its religious character and can be found in the states of Minas Gerais and Rio Grande do Sul.
This Uruguayan music style is based on three different drums: chico, repique, and piano drums. It is usually played in February during carnival in Montevideo at dance parades called llamadas and desfile inaugural del carnaval.
According to George Reid Andrews, a historian of black communities in Latin America, after the middle of the 19th century younger black people began to abandon the candombe in favor of practicing European dances such as the waltz, schottische, and mazurka. Following this new twist, other Uruguayans began to imitate the steps and movements. Calling themselves Los Negros, upper class porteños in the 1860s and 1870s performed blackface and formed one of the carnival processions each year.
African-Uruguayans organized candombe dances every Sunday and on special holidays such as New Year's Eve, Christmas, Saint Baltasar, Rosary Virgin and Saint Benito. They would set a fire to heat the drums and play candombe music, especially during the night in certain neighborhoods such as Barrio Sur and Palermo in Montevideo.
The typical characters on the parade represent the old white masters during slavery in old Montevideo city. It was a mockery to their lifestyle with a rebel spirit for freedom and a way to remember the African origins.
In 1913, an anonymous dance historian identified only as "Viejo Tanguero" ("Old Tangoer") wrote about the 1877 creation of a dance referred to as a tango but featuring ideas from the candombe. This dance, which later became known as "soft tango," was created by African Argentines.
Writing in 1883, dance scholar and folklorist Ventura Lynch described the influence of Afro-Argentine dancers on the compadritos ("tough guys") who apparently frequented Afro-Argentine dance venues. Lynch wrote, "the milonga is danced only by the compadritos of the city, who have created it as a mockery of the dances the blacks hold in their own places". Lynch's report was interpreted by Robert Farris Thompson in Tango: The Art of Love as meaning that city compadritos danced milonga, not rural gauchos. Thompson notes that the population of city toughs dancing milonga would have included blacks and mulattoes, and that it would not have been danced as a mockery by all the dancers.
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