[Colombia, Dept. Bolívar, 1968] / collected by George List, Winston Caballero Salguedo and Hector Diaz Herazo.
Sections
- 1. [introduction by ATM staff]. (00:19)
- September 22, 1968, Colombia, Bolivar, Evitar.
- Winston Caballero Salguedo - interviewer, Hector Diaz Herazo - interviewer, and Abraham Herrera - interviewee.
- 2. Concerning the juegos of the velorios. (01:28)
- 3. How the juego de guacamaya is played. (01:56)
- 4. How the dead child is clothed, etc. (02:04)
- 5. What the mother of the child does. (00:08)
- 6. Concerning the game of jetepié. (01:27)
- 7. Whether or not members of the family play the games. (00:23)
- 8. More information concerning jetepié. (00:36)
- 9. Whether the children play games at the velorio. (00:26)
- 10. Games are played at velorios for children up to the age of nine years. (00:28)
- 11. Concerning the game of flowers which is not sung. (00:38)
- 12. The number of nights of velorio depends upon the age at which the child died. (01:00)
- 13. How the game of florón is played. (03:27)
- 14. Further information concerning the display of the dead child. (00:42)
- 15. The coffin is used to carry the child to the cemetery, the child is not displayed in the coffin. (01:13)
- 16. The glass of water is played near an adult only. (00:50)
- 17. Concerning the velorio for the adults. (00:46)
- 18. What is served to the guests. (00:31)
- 19. Concerning levantarse el cuerpo. Taking flowers to the cemetery. (00:52)
- 20. In what ways the velorio for a child and that for an adult are similar. (01:04)
- 21. How long the corpse is kept in the house. (00:45)
- 22. Concerning playing la penitencia which is apparently the same as the game of flowers. (03:13)
- 23. Concerning the game "donde hay lata?" Apparently related or part of the game of penitencia. (01:57)
- 24. Concerning the game of "el loro y la lora". (00:47)
- 25. He sings "El loro y la lora". (00:23)
- 26. How the above game is played. (01:21)
- 27. The children are not permitted to play the games. (00:39)
- 28. The lata is a coró? Concerning what lata is. (02:30)
- 29. There are no rezos at the velorios for children. For children they use litanies, for adults rosarios. (00:39)
- 30. Who says the litanies and how much she is paid. (00:55)
- 31. Why the dead children are called angelitos. Whether they are baptized or not. (00:59)
- 32. Concerning the playing of the juego "guacamaya". (00:34)
- 33. He sings the "guacamaya". (00:26)
- 34. Further detail on how this game is played. (01:34)
- 35. How the game of "azúcar" is played. (00:38)
- 36. Abraham sings "Azúcar.". (00:27)
- Winston Caballero Salguedo - interviewer, Hector Diaz Herazo - interviewer, and Simón Herrera - interviewee.
- 37. Interview with Simón Herrera: Concerning from whom he learned the décimas with "pobre está salado". (01:04)
- 38. Concerning the circumstances under which he learned the décimas. (02:45)
- 39. He learned the melody with the words. (01:17)
- 40. He sings [décima] concerning negro and white. (01:08)
- 41. Sings décima "Yo sé todos los sacramentos". (00:34)
- 42. Explanation of the meaning of "pobre [esta] salado". (00:52)
- 43. Concerning Herrera's work and his field. (00:49)
- Winston Caballero Salguedo - interviewer, Hector Diaz Herazo - interviewer, and Domingo Polo Venesia - interviewee.
- Winston Caballero Salguedo - interviewer, Hector Diaz Herazo - interviewer, Abraham Herrera - interviewee, and Simón Herrera - interviewee.
- September 22, 1968, Colombia, Bolivar, Evitar.
- Winston Caballero Salguedo - interviewer, Hector Diaz Herazo - interviewer, Abraham Herrera - interviewee, and Simón Herrera - interviewee.
- 1. [Continuing interview with Abraham and Simón Herrera]: Concerning the difference between historias y cuentos. (01:06)
- 2. A. Herrera sings a décima "No me rechacen siguiera". (It is the first décima sung by Carlos Julio in 1964). (00:37)
- 3. They get their water from the cienega which is "cincuenta brazas" distant. A braza is three meters. (00:31)
- 4. When the cienega is high it floods part of the village. (00:15)
- Winston Caballero Salguedo - interviewer, Hector Diaz Herazo - interviewer, and Domingo Polo Venesia - interviewee.
- 5. [Interview with Domingo Polo Venesia (maestro)]: Concerning the school year and the hours of classes. (00:53)
- 6. Concerning where the couples in the village marry legally, where they go to get married. (00:54)
- 7. The campana. (00:26)
- 8. Concerning a fire in the village. (02:24)
- 9. More concerning the campana which is used during a death but apparently not during emergencies. (00:30)
- 10. The patron saint of the village is San Sebastián and his day is 20 January. (00:14)
- 11. Concerning the fiesta patronal of Evitar. (00:28)
- 12. Concerning why San Sebastián is the saint of the village. (01:26)
- 13. Concerning the tambor mayor. (00:46)
- 14. Concerning Juan Martínez who played the musical bow and who died. (00:42)
- Winston Caballero Salguedo - interviewer, Hector Diaz Herazo - interviewer, Domingo Polo Venesia - interviewee, Abraham Herrera - speaker, and Simón Herrera - speaker.
- 15. Description of the musical bow. (Abraham and Simón Herrera joined interview earlier.). (00:54)
- 16. No one else plays the musical bow. (01:00)
- 17. Concerning what is done if the head of a drum breaks. (00:56)
- 18. On raising the drum from the ground when playing [in this manner]. (01:44)
- 19. Concerning cumbia lenta and cumbia rápida. (00:36)
- 20. Simón Herrera sings a cuartetto of a cumbia lenta. (00:19)
- 21. He sings another text from a cumbia which seems to be a décima and says this is also cumbia lenta. (00:22)
- 22. Simón sings a text that he says is of cumbia rápida. (Diaz is carrying on the interview). (00:24)
- 23. Simón says that a cumbia lenta can be played more rapidly to produce more alegría. But one must continue at whatever tempo one starts. (01:17)
- 24. But there are apparently two types, lenta and rápida which are distinguished one from another. (00:29)
- 25. On the conjuntos that are found in Evitar. (00:38)
- 26. What one calls the conjunto that plays cumbias. (01:38)
- 27. Concerning who played the guachos when the conjunto was recorded in Cartagena, Juan Jiménez. (00:33)
- 28. Simón has apparently not heard of the terms tambor macho and tambor hembra. (00:23)
- 29. He says the bombo is beaten on only one head. More concerning this. (00:39)
- 30. The hoop is made of the chupa-chupa vine, the other hoop of wire (iron?). The hoops of the tambor. As far as he knows wire has always been used. (01:00)
- 31. The term cumbiamba is not used in Evitar. (00:51)
- 32. Information concerning the conquista. Who elects the queen and who steals her.. (01:04)
- 33. More information concerning the conquista. (01:39)
- 34. Bullerengue (?) for voice and tambor, [end of tape]. (04:20)
- October 19, 1968, Colombia, Bolivar, Mahates.
- Winston Caballero Salguedo - interviewer, Hector Diaz Herazo - interviewer, Emilia Beltrán - interviewee, Donatila Castilla - voice, and Marquesa Castilla - voice.
- 1. [Carángano played by Emilia Beltrán who also sings as does her daughter, Donatila Castilla. Plays carángano]. (01:08)
- 2. "Arroz con coco", fandango, sung and played by Emilia Beltrán. (04:57)
- 3. Later Caballero announces that the former was sung by [Donatila] Castilla and Marquesa Castilla. Both are daughters of Emilia Beltrán. They also clapped. (00:34)
- 4. Castilla says that she learned to sing the above from her father and that it was his music (?). (00:20)
- 5. Information concerning how and when Emilia learned to play the carángano. (01:16)
- 6. She is 87 years of age. (00:57)
- 7. She demonstrates how to play the carángano. This was apparently a cumbia. Children crying. (01:22)
- 8. Further information. One person says it was a merengue, another fandango. Emilia says they are the same. A person disagrees with her. [Very short and she sings. Out in tape]. (00:41)
- 9. Short, with singing, and interruptions. Apparently a paseo. (00:23)
- 10. Further on how she learned to play the carángano. (01:16)
- 11. She says the "mapalé" is the same as the "bullerengue". (00:27)
- 12. She learned by watching and listening (?) to play the different ritmos. (00:52)
- 13. She plays and sings. Short. Cumbia. (00:35)
- 14. She plays and sings. Longer. Merengue. (00:31)
- 15. Sings and plays. Mapalé. (00:32)
- 16. She says that was a bullerengue. Mapalé and bullerengue are the same. (00:07)
- 17. Plays fandango. (00:51)
- 18. Plays and sings fandango. Other singers. Clapping. Song accompanied by her daughters. (01:38)
- 19. Another performance of carángano with voices. Caballero later announces this is a fandango. (02:07)
- 20. Décimas sung by Donatila Castilla.(Not full décimas. Seem to be coplas). Caballero announces that the above were sung by Marquesa Castilla. (01:53)
- 21. "Tres Golpes", ritmo de cumbia. [Transcription says this is sung by Marquesa Castilla but there is no announcement. Chorus and another singer joins in]. (02:31)
- 22. Same group apparently. Caballero announces that this is called " la parranda vieja" and is the composition of Pedro Castilla, the father of Donafila and Marquesa Castilla. (04:31)
- 23. "Las Notas Musicales" sung and played by Emilia Beltrán. [Incomplete at beginning and end]. [End of session]. (00:56)
- October 20, 1968, Colombia, Bolivar, Evitar.
- Winston Caballero Salguedo - interviewer, Hector Diaz Herazo - interviewer, Aníbal Porto Cueto - performer, and Mariano Rosado - performer.
- 24. [New session, same track]. [Childrens' games]:The game "Esconde la Sortija." Director of one group, Aníbal Porto Cueto. Director of second group, Mariano Rosado. (01:04)
- 25. [Explanation by Caballero. Cueto begins]: Cueta recites. (00:24)
- 26. [Caballero explains action]: Rosado recites. (00:25)
- 27. [The game continues with the explanation]: Finally, how the game ends. (05:38)
- 28. El Chivo, game that can be played by girls as well as boys. Explanation by Porto Cueto. Game played by Cueto and Rosado. Other children cry like chivos. (03:52)
- Winston Caballero Salguedo - interviewer, Hector Diaz Herazo - interviewer, and unidentified performers.
- Winston Caballero Salguedo - interviewer, Hector Diaz Herazo - interviewer, and Abraham Herrera - interviewee.
- October 20, 1968, Colombia, Bolivar, Evitar.
- Winston Caballero Salguedo - interviewer, Hector Diaz Herazo - interviewer, and Abraham Herrera - interviewee.
- 1. Concerning the fandango in the día de San Juan, the gavilán, and the canto de gallo. Relationship with tambor. Herrera does not sing the canto de gallo because he does not sing in high voice. (01:02)
- 2. Herrera sings canto de gallo in low voice. (00:33)
- 3. "Arriba señor Díaz" is a fandango. A bullerengue is slower. (00:29)
- 4. "Arriba" means "para arriba", con más alegría. (00:17)
- 5. Sings "ño día" (fandango or bullerengue)?. (01:24)
- 6. Concerning the hours at which rezos are said at velorios. (00:22)
- 7. In Evitar there are only rezanderas, not rezanderos. (00:09)
- 8. Concerning how they "levanta el cuerpo" the ninth night of the velorio. (01:30)
- 9. Concerning who digs the grave and what the diggers are given. (00:36)
- 10. Concerning juegos on leaving (?) the cemetery. The game of cartelón. (01:15)
- 11. More concerning the refreshments which are furnished. (00:35)
- Winston Caballero Salguedo - interviewer, Hector Diaz Herazo - interviewer, and Israel Sánchez - interviewee.
- 12. Interview with Israel Sánchez. Born in Machado and came to Evitar at approximately the age of 12. Does not know his age but believes he is 100. (01:12)
- 13. The canto de gallo is sung around 8pm. He does not have the strength to sing it. (01:12)
- 14. he sings canto de gallo very softly. This is all of it and it is sung with "bastante pecho.". (01:21)
- 15. In the past the maya was sung in Evitar but not now. (00:22)
- 16. He sings part of a maya (?). [Catalogue says canto de gallo]. (00:22)
- 17. Concerning the maestranza. (00:31)
- Winston Caballero Salguedo - interviewer, Hector Diaz Herazo - interviewer, and América Porto Cueto - interviewee.
- Winston Caballero Salguedo - interviewer, Hector Diaz Herazo - interviewer, and Santiago Ospino Caraballo - interviewee.
- 19. Interview with Santiago Ospino Caraballo, leader of the conjunto de caña de millo de Evitar. He says the group is "de cumbia.". (00:17)
- 20. Concerning contracts to play. (00:43)
- 21. Concerning which instruments execute revuelos. (00:42)
- 22. Concerning the two guachos and their manufacture. (01:13)
- 23. They perform a cumbia lenta or rápida (suave) as a person wishes, the same cumbia. (00:29)
- 24. Concerning relation of porro to cumbia. (00:35)
- 25. On the difference in playing in the streets and seated. (00:46)
- 26. They change the players of tambor and bombo because they become tired. (00:50)
- 27. Concerning the construction of the bombo. (01:54)
- 28. Ospino says that in the cumbia the flute plays the tune (tono) of the bullerengue. There are certain similarities between the tunes of the bullerengue and the cumbia. [Manuel Pimientel had said that in the porro there was something of the cumbia. Caballero does not follow this point]. (00:41)
- 29. He does not play the tambor. The bombo is played on both heads only during the cumbia, [only]. (00:37)
- 30. The hoops of the drums are made of the chupa-chupa vine. (00:23)
- 31. When the group plays a gaita the caña de millo plays the son of the gaita. They also use the bombo when playing gaitas. (00:33)
- 32. Concerning who composed the songs recorded from the group in Cartagena. He is [a] the author of the words of the cumbia "20 de enero.". (01:07)
- 33. It is not their custom to play pieces by composers they do not know. He is also the composer of "ven Acá:" and [la] puya?. (00:43)
- 34. He has taught his compositions to his sons but to no others. (00:53)
- 35. There are words to the gaita. (00:20)
- 36. Ospino composes the tune and Manuel Pimientel the words. (01:15)
- 37. He sang in the gaita (Mariana?) because he was drunk. He does not usually sing. But gaitas are sung. (00:31)
- 38. The pito and the tambor execute revuelos in the gaita but not the bombo because it would lead the tonality astray. It would damage the "son.". (00:43)
- 39. There are two types of gaita, gaita corrida and gaita lenta. The first type can be sung, the second type not. They sang at the recording session in Cartagena in a gaita lenta because they thought Zapata wanted them to. Mariana is a gaita corrida. [see 41?]. (01:37)
- 40. At present they do not know a gaita lenta. (?). "Me voy con dolor" is corrida. (00:32)
- 41. There are no words for "Mariana" but it is the type that can be sung. When Zapata asked that they sing, he sang. (00:39)
- November 1, 1968, Colombia, Bolivar, Cartagena.
- Winston Caballero Salguedo - interviewer, Hector Diaz Herazo - interviewer, and unidentified performers.
- 42. [New session, same tape]. Festividad de los Inocentes (Día de los Inocentes) Canto de los ángeles son. Interview with a group of boys. Singing accompanied by beating of pans (?). (00:45)
- 43. What they sing if they are given money, candy or something to eat. (00:13)
- 44. What they sing if they are not given anything. (00:07)
- 45. Another. (00:11)
- 46. What they sing to give thanks. (00:15)
- 47. What they sing if nothing is given to them in the house. (00:27)
- 48. The ages of the performers and where they live. (00:45)
- 49. With another group of singers. Sung by one boy. (00:28)
- 50. What is sung for thanks. Same boy. (00:08)
- 51. Another short one. (00:05)
- 52. Another. One boy. (00:19)
- 53. What is sung when they are angry and are given nothing. (00:17)
- 54. Where they live. (00:34)
- 55. Another group (?) song (?). Group singing. (00:23)
- 56. Thanks if they receive something. (00:13)
- 57. If they are given nothing. (00:14)
- 58. Name[s], age, and where they live. (00:31)
- 59. Another group. Diaz announces that this "team" carries an aluminum pot for purposes of collection. (00:14)
- 60. What they sing when they arrive at the house. (00:20)
- 61. They sing it again, not pounding the pot so loudly. (00:26)
- 62. What they sing if he gives them something. (00:09)
- 63. What they sing if he gives them nothing. (00:20)
- 64. Names, age, and where they live. (00:50)
- 65. Another group? Another song. (00:16)
- 66. What they sing if he gives them something. Two or more items. (00:31)
- 67. They learned them by hearing them. (00:20)
- 68. Name[s], age, and where they live. (00:28)
- 69. Now a group of girls. They sing. (00:33)
- 70. What they sing if they receive something. (00:35)
- 71. What they sing if they receive nothing. (00:22)
- 72. Name[s], age, and where they live. (00:32)
- 73. Recited alone without accompaniment. (00:14)
- 74. Group with accompaniment. More variety in melody. [Good quality]. (00:47)
- 75. What they sing if they are given nothing. [Good]. (00:22)
- 76. What they sing if given something good. [Good but Diaz grunts]. (00:30)
- 77. Names, ages, and places where they live. (00:27)
- 78. They learned them by hearing them. They practised in the house before going out. (00:37)
- 79. Sung by group with accompaniment. (00:27)
- 80. What they sing if given something (short). (00:22)
- 81. Names, ages, and where they live. (00:30)
- 82. Group with accompaniment. [End of tape]. (00:23)
- Date
1968
- Main contributor
See Other Contributors
- Summary
-
Descriptive information presented here may come from original collection documentation. Please note collections of historical content may contain material that could be offensive to some patrons.
- Contributors
List, George, 1911-2008.; Herrara, Abraham.; Herrara, Simón.; Indiana University, Bloomington. Archives of Traditional Music.
- Subjects
Folk music; Marriage customs and rites; Funeral rites and ceremonies; Decimas, Colombian; Festivals; Singing games; Children's songs; Musical instruments; Oral history; Fandangos; Merengues; Musicians; Interviews; S.C.1; Cumbias
- Locations
Colombia; Bolívar (Department)
- Collection
Archives of Traditional Music Field and Broadcast Collections
- Unit
Archives of Traditional Music
- Language
Spanish
- Physical Description
4 sound tape reels : analog, 3 3/4 ips, full track ; 7 in. + documentation
- Notes
Interviews and folk music.
Accompanied by a catalog in English prepared by List.
Deposited at the Archives of Traditional Music by List in 1969 under Option 1.
Local Note
EC 3240--3243
Performers
Abraham and Simón Herrara, Domingo Polo Venesia, América Porto Cueto, and Santiago Ospino Caraballo, informants; various native musicians performing.
Statement of Responsibility
collected by George List, Winston Caballero Salguedo and Hector Diaz Herazo.
Contents
Carángano music and interview with the performer -- Interview concerning velorio customs including the juego, jetepié, florón, penitencia, guacamaya and azúcar games -- Interview concerning the décimas "pobre está salado" with demonstrations -- Interview concerning various musical genres and instruments -- Discussion of village life in Evitar, marriage customs, patron saints, campana and conquista -- Fandangos -- Cumbias -- Merengues -- Mapalés -- Decímas -- Tres golpes -- Children's games: Esconde la sortija ; El chivo ; Mirón, mirón -- Interview concerning canto de gallo, maestranza, and game of puerco -- Interview with leader of the conjunto de caña de millo de Evitar concerning the music and instruments played -- Interviews with participants at the Festividad de los Inocentes in Cartagena.
Venue/Event Date
Recorded by Caballero Salguedo and Diaz Herazo under the direction of List from Sept. 22 - Nov. 1, 1968 in the cities of Evitar, Mahates, Carángano and Cartagena in the Dept. de Bolívar, Colombia.
- Other Identifiers
Catalog Key: 1395243; Other: GR00383683; Other: EC 3240; MDPI Barcode: 40000002684654; MDPI Barcode: 40000002684647; MDPI Barcode: 40000002685131; MDPI Barcode: 40000002685123; OCLC: ocm15528689; Catalog Key: BAA0433BT; Collection Identifier: 69-201-F ATL
Access Restrictions
This item is accessible by: the public.