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In the Northwest of Argentina, we enter the zone of the
"carnavalitos" (dances for any number of people, with simple steps and a
vivid rhythm),
"bagualas" (plaintive native songs), "bailecitos" (a sort of square
dance, executed by couples), "takiraris" (a dance similar to the
carnavalito),
"huainos" songs of Inca-Peruvian origin, similar to the bagualas,
accompanied by the slow rhythm of native drums) etc. They are the
musical
expression of the native peasants, the "Coyas". With their typical
instruments "caja", a drum "quena" (a kind of flute), "charango" (a
small guitar
made with the shield of an armadillo) and with their vividly coloured
costumes, their full skirts, their "chulos" (helmets like woollen caps
with
multicoloured earflaps, used only by men), and women's little black
bowler hats, they give us a vivid picture of the old Incaic culture
mixed With
Spanish influences as nowhere outside this region can be found.
To illustrate this, our record contains the following - examples:
"Bagualeras" (Side "B" No. 3) by "Los Fronterizos" (The Frontiersmen)
and "El Pajarito" (The little bird) (Side "A" No. 2) a square dance
composed
by the Abalos Bros. and executed by "Arnoldo Pintos and His Chayeros"
(artists). The first example is a typical song of the "Coya", who—with
only his "caja" and his voice—tells us of his joys and sorrows. The
"Pajarito" is a traditional "coya" dance which Arnoldo Pintos and His
Chayeros
with "quena", "charango", "bombo" and "sonajeros" evoked for you in a
marvellously successful recording.
Now we continue our imaginary journey towards the South, where the
sub-tropical jungle covers with its foliage the winding tracks of the
modern civilization—the asphalt road—and leads us to the sweetness of
the sugarcane fields that surround villages and cities with a definite
Spanish aura. The air, now in dark canyons, now in lush valleys, murmurs
the music that rises from these places and it is "Chango Rodriguez"
who, with his voice, his guitar and his songs materializes this vision
for us with his interpretation of "Zamba for my Mother" (Side "B" No.
6).
Descending from the mountains to the valleys, we find the hamlets where
houses of sun-dried bricks and unpaved streets take us back to old
times. Already we are touched by the characteristic chords of the'
"Chacarera", a folk dance in which we see the cowboys tapping out the
rhythm
with his boot or circling in front of the girl who, as she flirts with
him, plays with her flying plaits while her long full skirts flutter
over his boots.
"Miguel Angel Trejo", his piano and the voices of the "Quilla Huasi
Singers" ("The singers of the house of the moon") give life to the
"Chacarera del
Santigueno" the native from Santiago del Estero)• the author of which is
M. A. Trejo.
We take up our journey again to turn in Southern direction towards the
Andes Cordillera. A landscape of emerald green mixed with the
amethystine purple of vines enfolds us in the sweet fragrance of wine:
we have reached Mendoza, the region of wine, joy and song. This is the
kingdom of the "cueca". As in almost all the Argentine folk dances, also
in this one of the partners dance individually, without touching each
other and play with their handkerchiefs to the sound of the guitars.
None better than the Quilla-Huasi Singers, whose hometown is Mendoza, to
perform for us the "cueca" called "El Encuentro" (The rendez-vous), so
graceful and so full of underlying meanings (Side "B" No. 5). The
Quilla-Huasi sing for us about yet another native feature, the "yerba",
which is somehow the Argentine counterpart of the North American rodeo.
There, among "empanadas" (small typical meatpies) and songs, the gauchos
have their fiesta and they sing about it in "Guelta, juera y a las
empanadas" (Side `B" No. 1)
.
As we proceed with our wandering our itinerary takes us to the central
region of the country, to colonial Cordoba, a province where modern
civilization harmonizes with the natural characteristics of the soil.
There Chan-go Rodriguez composed his "Chacarera del cordobes" (Side "A"
No.
5), in which, with inimitable mastery he portrays for us a typical
character of this region. The Fronterizos also have come along to
Cordoba,
where they sing for "Destino de zamba y noche" (Fate of zamba and night)
(Side "A" No. 1); a panegyric about their love of the land and their
"destiny" two inseparable attributes of the criollo.
Having left the Cordoba Hills we now cross into. the region called
Mesopotamia, between the large rivers Parana and Uruguay. Hark! It's the
voice of the "Men-su" (Side "B" No. 2) ... jungle ... night .. the moon
. grief in the "yerba" plantation. "Mensu", an Indian native of this
region is used to express the suffering of the peaceful Indians under
the harsh
cruelty of the invading Spaniards in the long ago.
That is what he sings to the world, under the cruel whip of the
"capango" (overseer), crying over his red blood and looking towards the
dawn of
hope in the immensity of the night. Thus the slave in the yerba
plantation sobs, hopes :.. and awaits the outstretched arms of the men
who will
relieve his misery. Julio Molina Carbral has beautifully captured the
spirit of this song from Misiones where the Iguazu waterfalls splash the
tropical-green carpet of the jungle and where nature itself is a.living
testimony of everlasting hope.
And now at last we enter the endless "pampa" (prairies) which cover the
greater part of the centre and south of Argentina. This is - the
original
home of the virile gaucho, forged in the savage fights against the
Indians.
"Carmen Guzman", with her voice that is reminiscent of the clear,
starlit pampean nights, brings us a milonga, "La Pampita" (The Pampa
girl)
(Side "B" No. 4). This chant is coloured with all the daily things dear
to the people: the "mate" (a typical beverage); the "tapera" (an
abandoned
hut), the ombu (a tree typical of the pampas, with a mushroomlike
formation, that has an ennormous significance for the native of
Argentine).
In the course of our musical wanderings we have already taken up several
contacts with Argentine zamba, without being aware, however, that
we were meeting the true king of all Argentine rhythms. From North to
South, from East to West, throughout the land handkerchiefs flutter to
the sounds of the zamba which inspired the poet to write: Song of my
land, singing
foliage beneath the moonlight. Proudly the zamba, like a blue dress,
flourishes beneath the walnut tree.
Time has passed but it has left the zamba pledged in our hearts, as an
unforgettable memory. It flew in through the waving handkerchiefs,
connecting the past with the present, leaving behind its seed for the
future. It will sing through the voice of Carmen Guzman as she
interprets
"Carita morena" (Little brown face) (Side "A" No. 4), or through Miguel
Angel Trejo's instrument as he plays "La Orgullosa" (The proud one)
(Side
"A" No. 6).
Our plane, ship or train is already about to leave. The lights of the
great city disappear and as we step into the night's mantle, we feel
that a
distant rumour coming from the mainland permeates us and that our soul
has received that indelible and indescribable gift that is
REMEMBRANCE.
Ivan Rene Cosentino.
This Long Playing High Fidelity record should only be played at 33 1-3
r.p.m. with a diamond or sapphire stylus. For maximum protection it
should be kept in this envelope away from heat. |
