Music of Ecuador

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The music of Ecuador is a diverse aspect of Ecuadorian culture. Ecuadorian music ranges from indigenous styles such as pasillo to Afro-Ecuadorian styles like bomba to modern indie rock like "Cambio de Tonalidad" by Da Pawn.

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The Andes mountains house several indigenous styles of music, such as that of the Otavalo. Afro-Ecuadorian music is also a prominent part of the country's scene, with styles such as marimba and bomba stemming from the days of slavery.

Pasillo, pasacalle, and yarabi are popular styles of folksong, with the former being similar to a flute and usually downtempo as it is descended from the waltz. Pasacalle is a form of dance music, while the sentimental yarabi is probably the most popular form in Ecuador.

In recent years, cities such as Guayaquil and Quito have developed an indie rock scene that has allowed bands such as Da Pawn and La Máquina Camaleön to achieve international popularity. [1] [2]

Andean music (La Sierra)

Andean musician on stage. Musica andina del Ecuador.jpg
Andean musician on stage.

The mountainous, Andean region of Ecuador, the Sierra, is home to a style of music called Sanjuanito. The music of the Otavalo people is well-known worldwide. A small panpipe called the rondador is the most distinctive instrument, but ensembles are typically groups of wind instruments, guitar trios (often including a bandolin), or brass bands. Folk rhythms include cachullapi, yumbo, and danzante. Musicians like Huayanay have helped to popularize Andean-Ecuadoran music. [3] Musical traditions have been of vital importance for Ecuadorians, especially for the Andean and indigenous peoples. This dates back even before the Spaniards came to conquer the country of Ecuador. As archaeologists went on the hunt towards digging up artifacts, they came across ancient instruments that were a key point in the musical aspect. These instruments varied all the way from various wind instruments such as Pan flutes all the way to drums and guitar types. [4]

Afro-Ecuadorian music

Afro-Ecuadorian music is mainly of two types. Marimba music comes from Esmeraldas, and gets its name from the prominent use of marimbas, along with drums and other instruments specific to this region such as the bombo, the cununo and the wasa. Petita Palma is considered a national treasure for her music. She keeps the tradition going with her group Grupo Folclórico "Tierra Caliente" de Petita Palma [5] which was given a Premio Eugenio Espejo award in 2007. [6] Marimba music also plays a part in Roman Catholic worship in and around Esmeraldas, as well as in celebrations and at parties. It features call and response chanting along with the music. Some of the rhythms associated with it are currulao, bambuco and andarele.

In the Chota Valley, bomba music is the predominant style. The bomba style originates from its namesake instrument, a bomba drum. The drum is played in both single and compound duple meter and is typically accompanied by an ensemble of three guitars, a shaker, and vocals. The origins of bomba are disputed due to lack of written documentation, though it is known to have been created mostly by Afro-Ecuadorian slaves. Bomba was originally a style used only during celebrations and holidays, but following its rise to popularity and commercialization, it has been found in other contexts as well. [7]

Religious practice among afro-Ecuadorians is usually Roman Catholic. There is no significant African religion, although Catholic worship is distinctive in Esmeraldas, and sometimes is done with marimba music. [8]

San Juanito

At the very beginning when Ecuadorian music was starting to flourish, what could be determined is that Patriotism played a major role in the lyrical portion of this genre of music. Individuals in small Ecuadorian villages demonstrated how certain music was fairly symbolic to them. El San Juanito being one of the many genres in Ecuadorian music out there that stressed allegiance. This genre allowed for citizens to feel a sense of belonging as well as the sensation of sentiment and pride of being in a place they called home.

Pasillo (Costa)

Julio Jaramillo is an icon of the old Bolero music genre. Julio jaramillo laurido2.jpg
Julio Jaramillo is an icon of the old Bolero music genre.

Pasillo is highly popular in Ecuador. Originally from the coast it has become the "national genre of music." In contrast to other styles of pasillo, however, Ecuadorian pasillo is slow and melancholic, often resting on themes of heartbreak and regret. Pasillo was named the "national style of Ecuador" and is the style of many city anthems, such as that of Guayaquil. [9] Today, it has incorporated more European features of classical dance, such as waltz. As it spread during the Gran Chaco period, pasillo also absorbed the individual characteristics of isolated villages. This gives it an eclectic feel; however, the style, tone, and tempo of the music differ in each village.

In its waltz, pasillo alters the classically European dance form to accompany guitar, mandolin, and other string instruments. [10]

Ecuadorian Rock

Mirella Cesa Mirella Cesa en 2016.jpg
Mirella Cesa
Pamela Cortes Pamela Cortes en 2018.jpg
Pamela Cortes

Rock music came to Ecuador in the midst of military dictatorship in the 1960s. Within the context of political culture deeply shaped by Catholicism, rock music was considered to be a dangerous movement that seduced the youth. To left-leaning factions, rock was regarded as an expression of cultural imperialism that corrupts national popular culture. Consequently, groups such as the Catholic Church, the police, and government institutions denounced Ecuadorian rock music following its arrival.

Several mestizo-bands in Ecuador made use of indigenous musical elements in rock music since the 1990s. Rocola Bacalao integrated Andean rhythms and made in their song-texts references to emblematic rural towns, such as Pujilí in Cotopaxi. Sal y Mileto and Casería de Lagartos coined the genre of new Ecuadorian Rock. Nevertheless, in the 1980s and the early 1990s the rhythm of the social as expressed in Ecuadorian rock was characterized by hopelessness and resistance or even resignation against repression. With the emergence of a powerful indigenous movement, the rhythm changed. The most emblematic references towards the political impact of the indigenous movement are made by the metalband Aztra and the hardcore band CURARE at the beginning of the 2000s, during the a time of indigenous social protest against neoliberalism and for democratization. [11] Today, the genre involves different styles including hardcore punk, metalcore, gothic metal, heavy metal, alternative rock, punk, ska, blues, and grunge.

Folk instruments

Music institutions

The Fundación de Desarrollo Social Afroecuatoriano (AZUCAR) has existed since 1993, and offers a variety of workshops for all ages in music and dance, as well as handicrafts and other topics. More information can be found on their website here.

Music festivals

Ecuador has many annual festivals, with nearly every village celebrating a Roman Catholic Saint. The annual festival in August held in San Antonio de Pichincha is particularly well known, as is the independent music festival Quito Fest.

Related Research Articles

<span class="mw-page-title-main">Demographics of Ecuador</span> Citizens of Ecuador

Demographic features of the population of Ecuador include population density, ethnicity, education level, health of the populace, economic status, religious affiliations and other aspects of the population.

<span class="mw-page-title-main">Marimba</span> Wooden keyboard percussion instrument

The marimba, is a musical instrument in the percussion family that consists of wooden bars that are struck by mallets. Below each bar is a resonator pipe that amplifies particular harmonics of its sound. Compared to the xylophone, the marimba has a lower range. Typically, the bars of a marimba are arranged chromatically, like the keys of a piano. The marimba is a type of idiophone.

The music of Latin America refers to music originating from Latin America, namely the Romance-speaking regions of the Americas south of the United States. Latin American music also incorporate the Indigenous peoples of the Americas. Due to its highly syncretic nature, Latin American music encompasses a wide variety of styles, including influential genres such as cumbia, bachata, bossa nova, merengue, rumba, salsa, samba, son, and tango. During the 20th century, many styles were influenced by the music of the United States giving rise to genres such as Latin pop, rock, jazz, hip hop, and reggaeton.

<span class="mw-page-title-main">Music of Colombia</span> Music and musical traditions of Colombia

The music of Colombia is an expression of Colombian culture, music genres, both traditional and modern, according with the features of each geographic region, although it is not uncommon to find different musical styles in the same region. The diversity in musical expressions found in Colombia can be seen as the result of a mixture of Amerindian, African, and European influences, as well as more modern American.

<span class="mw-page-title-main">Andean music</span> Style of music

Andean music is a group of styles of music from the Andes region in South America.

Indigenous or Aboriginal rock is a style of music which mixes rock music with the instrumentation and singing styles of Indigenous peoples. Two countries with prominent Aboriginal rock scenes are Australia and Canada.

Ecuador is a multicultural and multiethnic nation, with the majority of its population is descended from a mixture of both European and Amerindian ancestry. The other 10% of Ecuador's population originate east of the Atlantic Ocean, predominantly from Spain, Italy, Lebanon, France and Germany. Around the Esmeraldas and Chota regions, the African influence would be strong among the small population of Afro-Ecuadorians that account for no more than 10%. Close to 80% of Ecuadorians are Roman Catholic, although the indigenous population blend Christian beliefs with ancient indigenous customs. The racial makeup of Ecuador is 70% mestizo, 7% Amerindian, 12% White, and 11% Black.

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Afro-Ecuadorians or Afroecuatorianos (Spanish), are Ecuadorians of predominantly Sub-Saharan African descent.

<span class="mw-page-title-main">Esmeraldas, Ecuador</span> City in Esmeraldas, Ecuador

Esmeraldas is a coastal city in northwestern Ecuador. It is the seat of the Esmeraldas Canton and capital of the Esmeraldas Province. It has an international sea port and a small airport. Esmeraldas is the major seaport of northwestern Ecuador, and it lies on the Pacific coast at the mouth of the Esmeraldas River. It is the antipodes of Padang, Indonesia. The city is the principal trading hub for the region's agricultural and lumber resources, and is the terminus of the 313-mile (504-km) Trans-Ecuadorian Pipeline from the oil fields in northeastern Ecuador.

Bomba or Bomba del Chota is an Afro-Ecuadorian music and dance form from the Chota Valley area of Ecuador in the province of Imbabura and Carchi. Its origins can be traced back to Africa via the middle passage and the use of African slave labor during the country's colonial period. Africans brought to labor as slaves in Ecuador brought with them this music form heavily influenced from the Bantu cultures of the Congo. The people dance in pairs to the drums and use improvisation to build relationships between the dancer and lead drummer.

This page is a glossary of Colombian music.

Pasillo is a Colombian genre of music popular in the territories that composed the 19th century Viceroyalty of New Granada: Born in the Colombian Andes during the independence wars, it spread to other areas; especially Ecuador and, to a lesser extent, the mountainous regions of Venezuela and Panama. Venezuelans refer to this style of music as "vals". Today, it has incorporated more European features of classical dance, such as Viennese waltz in Colombia and features of sanjuanito and yaraví in Ecuador. As it spread during the Gran Colombia period, pasillo also absorbed the individual characteristics of isolated villages. This gives it an eclectic feel; however, the style, tone, and tempo of the music differ in each village and indeed between each country.

The Mira River originates in the Andes of Ecuador and flows to the Pacific Ocean in Colombia. For a few kilometers it forms the border between the two countries. The upper course of the Mira is called the Chota River and is notable for its Afro-Ecuadorian inhabitants, its bomba music, and the large number of internationally prominent soccer players it has produced.

Luis Humberto Salgado was an Ecuadorian composer. He was regarded as one of the most influential and prolific composers of his country.

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<span class="mw-page-title-main">Bandolin</span> 15-stringed musical instrument in Ecuador

The bandolin is a 15-stringed musical instrument in Ecuador. It is used as a rhythm and melody instrument in the Andean region of Ecuador during festivals where dancing and music are involved. It has a flat back and 15 strings in triple courses.

<span class="mw-page-title-main">Ecuadorians</span> Citizens of Ecuador

Ecuadorians are people identified with the South American country of Ecuador. This connection may be residential, legal, historical or cultural. For most Ecuadorians, several of these connections exist and are collectively the source of their being Ecuadorian.

<span class="mw-page-title-main">Guillermo Ayoví Erazo</span> Musical artist

Guillermo Ayoví Erazo better known as Papá Roncón was an Afro-Ecuadorian musician, singer, and marimba player.

A Sanjuanito, Sanjuan, or San Juan is a type of Ecuadorian music and dance. Sanjuanitos are an indigenous form of music and folkloric dance associated with the Sierra, Ecuador's mountainous Andean region. It's associated with, but not specific to, the Otavalo people.

<span class="mw-page-title-main">Petita Palma</span> Ecuadorian singer (born 1927)

Petita Palma Piñeiros is an Ecuadorian singer who is regarded as a national treasure. Marimba music and traditions from the Ecuadorian province of Esmeraldas are recognised by the UN as part of the Intangible Cultural Heritage of Humanity.

References

  1. "Da Pawn". Spotify. Retrieved 2020-02-25.
  2. "La Máquina Camaleón". Spotify. Retrieved 2020-02-25.
  3. Vallejo, Jessie M. (2014). La Música Da Vida a Vida: Transverse Flute Music of Otavalo, Ecuador (Thesis). UCLA.
  4. "Music in Ecuador, Artists, Musicians - Cultures in Ecuador | Ecuador". Ecuador.com. Retrieved 2022-12-02.
  5. Crowder, Nicholas (2009-10-15). CultureShock! Ecuador: A Survival Guide to Customs and Etiquette. Marshall Cavendish International Asia Pte Ltd. ISBN   978-981-4435-73-4.
  6. "Ganadores del Premio Eugenio Espejo". Archived from the original on 2013-10-29.
  7. Lara, Francisco; Ruggiero, Diana (2016-11-19). "Highland Afro-Ecuadorian Bomba and Identity along the Black Pacific at the Turn of the Twenty-First Century". Latin American Music Review. 37 (2): 135–164. doi:10.7560/LAMR37201. ISSN   1536-0199. S2CID   191623539.
  8. Gualpa, Cristian; Fernanda, Verónica; Frias, Verónica Pardo (September 2018). "La influencia de la música ecuatoriana (Sanjuanito) en el fortalecimiento de la cultura musical".
  9. Becker, Danièle (1989-12-31), "El teatro palaciego y la música en la segunda mitad del siglo XVII", in Ed, Sebastian Neumeister (ed.), Actas del IX Congreso de la Asociación Internacional de Hispanistas, Iberoamericana Vervuert, pp. 353–364, doi:10.31819/9783964562180-033, ISBN   978-3-96456-218-0
  10. A cultural history of Latin America : literature, music, and the visual arts in the 19th and 20th centuries . Bethell, Leslie. Cambridge: Cambridge University Press. 1998. ISBN   0-521-62327-8. OCLC   39108643.{{cite book}}: CS1 maint: others (link)
  11. Olaf Kaltmeier 2019. "Rockin`for Pachamama: political struggle and the narration of history in Ecuadorian rock music.” In: Sonic Politics. Ed. Olaf Kaltmeier and Wilfried Raussert. New York: Routledge 2019, p.179-204.

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