Afro-Colombian Shamanic Rhythms will explore the magical and ancestral sounds that travelled across the sea, mountains and rivers from Africa to Colombia and all over Latin America. The grief and sorrow of the african slaves melted with lament of the native americans. Thus, the African drums and Indigenous flutes were forever married to give birth to the Cumbia, Mapale, Puya, Bullerengue and Currulao among other Rhythms.
We are seeking to rescue the Shamanic elements in our culture and heritage, creating a space for spiritual expansion, uplifting, healing and bonding experience for all.
We are all drummers by nature. Our heart is the most accurate drum! and we will be connecting to the heart beats, gradually increasing its pace through the drumming journeying and reconnecting to our consciousness.
This Group is part of the Music For Life Project: The objective of the group is to promote, protect and preserve our cultural heritage. We ensure that all ethnic minorities from a range of communities regardless of location have access to the provision of educational and arts activities.
Workshops will cover drumming, maracas, marimba techniques and also for the first time in the UK participants will learn to play the kuisi bunsi and the kuisi sigi (colombian gaitas). We welcome people from all walks of life :-) :-)
In our drumming circle you will do:
Call and response Search for your natural beat Group drumming interaction Learn hand techniques for the Alegre (Joyful or female drum) Tambora/bombo techniques Maracas/Guasa/guache techniques Gaitas: Female and Male Marimba
and remember not previous experience is needed!!!!
male and female couple characterized by its frenetics acts towards each other. The couple dances to a fast rhythm of cumbia music (http://en.wikipedia.org/wiki/Cumbia) (original from Colombia) also originally of the African slaves brought to Colombia. The movements are based on the Mapale Fish movements when it was out of the water. From Colombia, the Dance spread to the South American and Central American Pacific coastline from Panama all the way down to Peru, including Ecuador. http://en.wikipedia.org/wiki/Mapale
The Bullerengue, is a music and dance from the Atlantic coast of Colombia and Panama Darien executed by the current descendants of the Maroons that inhabited this region. The word "bullerengue" means maternity pollerón or skirt, where the current survival customs were created. In the black cultural environment, it is defined as a dance of only women, of undoubtedly African ancestry,
apparently not attached to customary rituals of Palenque de San Basilio, forming part of the acts of initiation of girls to puberty.The pace is well marked, autonomous, purely African, executed by drums, without any reference to the melody. The young women enter the yard in a row, clapping with their hands up, with a short step, similar to the cumbia and in an upright position. There are several figures, using the skirts, symbolizing the offering of fertility.
Also part of the typical dances of Colombia. Patron of the dance is Afro-Colombian communities of the Pacific coast. Introduces features that synthesize the African heritage of slaves brought in colonial mining for advanced work in the river basins of western territory. In implementing the currulao is possible to observe the characteristics of a sacramental rite steeped in ancestral strength and magical content. http://es.wikipedia.org/wiki/Currulao
There are male and female versions of the kuisi (or gaita (http://en.wikipedia.org/wiki/Bagpipes), the Spanish for pipe). The female kuisi bunsi (also rendered kuisi abundjí in Spanish) is also commonly known as a gaita hembra in Spanish, and has 5 holes; the male kuisi sigi (or kuisi azigí) is called a gaita macho in Spanish and has two holes.
Players often use wax to close fingerholes and alter the sound of the flute, blocking one or other tone hole on the kuisi sigi, and on the kuisi bunzi either the upper or lower fingerhole so that only four holes are in use at any one time.The change of wax from one fingerhole to another alters the fundamental tone and series of overtones that can be produced. A photograph of the paired flutes of the Cuna Indians of Panama shows that their hembra has only four fingerholes. http://en.wikipedia.org/wiki/Kuisi