Some
dances expressions of rhythms of African predominance are:
Abozao
This
word comes from " boza ", tie, short end or chain, used
in sailing to hold objects. So abozar is to tie with bozas, symbol
that doesn't seem to move away from the sense of the dance. The
abozao is maybe the most popular rhythm in the central area of the
Choco, where it has been diversified, acquiring different shades.
The
rhythm, of binary compass, is warm and vibrant, very similar to
the currulao in the measure of the blows, although in him the resonance
of the drums is not so deep. The melody, in turn, possesses a very
rich traditional cut in sound suggestions that the musicians reiterate
intentionally to stimulate the party. The abozao is a touch to dance,
but the celebrators usually encourage him with screams and exclamations
in form of melodic tissue that they put on to the service of the
rhythmic marcation.
Currulao
This
rhythm has its biggest influence area in the center and south of
the Coast Pacific. The currulao made its entrance for Cartagena
de Indias in the XVII century, where she was mentioned like slaves'
dance, definition that lasted for long time.
The
Juga
The
word " juga ", is an idiomatic corruption of the term
escapes, which is an employee in the classic music. The juga is
a currulao variety. This dance is commonly executed in the Christmas
celebrations without it indicates it that it is not remembered in
other dates. In this dance it is appreciated a great unfolding of
force and agility on the part of the dancers, which maintain a constant
contact to each other. The juga chocoana is teacher's Donaldo Lozano
creation, being fruit of investigations carried out in Buenaventura
(Valle del Cauca), incorporating certain songs characteristic of
this region of the Pacific particularly with rhythms chocoanos like
the pajarillo. Likewise, they were printed the typical instruments
and the corporal movements characteristic of the department of the
Choco. This contribution had a gestation process of more than 10
years, being finally accepted in the Choco like part of the cultural
development of the department.
Some
sincrethics afrohispanics adaptations like:
Mazurka
This
is one of the airs more characteristic cultural of the environment
musical chocoano. We received mazurka, apparently, in the beginnings
of the XIX century as prototype of the European court dances, being
the national dance of Poland. Originally, the mazurka was played
with violins, it violates, flute traversa, harps, cornos for court
use, in the mark of the aristocratic demands. In the miscegenation
process it suffered the changes characteristic of acclimatization,
reason for which many of the instruments disappeared being replaced
by other sounder ones and of easy access.
Jota
Being
the " Iota " a very popular dance in the Spanish counties
of Aragon and Valencia, it was very little of her when becoming
a Creole rhythm of negroid flavor. Of the alive rhythm and party
of the Aragonese iota", she spent to a related rhythm with
the touch of the currulao. In her the melody almost loses the whole
sound relief and the properly this " song ", becoming
a sequence to be danced with full domain of the drums.
Contradanza
Coming
from the old Scotland where she received the name of it country-dances,
or dance rustic villager. Of there it passed England where it was
enriched by the court influences and she acquired a complex and
spectacular choreography, being looked like in certain moments to
the classic " gang ". The musical topic, born of a very
rhythmic valseado, it disappeared totally when arriving to our lands.
In the Choco and the occident of Antioquia was printed a syncopated
melody, more to tone with the mulatto's likes and the black one,
being played exclusively to dance.
Polka
It
is a dance of European origin, located in Hungary of where one shows
off she extended to France and England and of there to the American
continent in the time of the colony. The polka is part of the musical
and choreographic folklore of the Pacific region and for its rhythm
and execution shows certain relationship with the waltz, the corridor
and the San andres' chotis. Their style is very aristocratic still
keeping relationship with the European forms. There are two versions
of the polka in the Coast Pacific: the one of the Choco and that
of Guapi; in both the topic is played exclusively to dance, without
song.
The
Danza Chocoana
Their
history has similar causes to those of the Contradanza, for what
concerns to the form in that she incorporated to the negroid environment.
The dance took of the Spanish thing the court accent, but when being
transferred to the African likes, she acquired as much in the musical
thing as in the dance, a different structure. The most outstanding
thing in her is the support that they confer the rhythmic blows
to the percussion, to give to the steps a syncopated strikes as
well as a virile accent and pagan. In the dance the song is not
used.
Emanated
rhythms of contemporary contexts from the rivers, mines and farms:
Makerule
More
than a rhythm of pure root chocoana, is an musical scene. The argument
describes, with certain degree of complicity, the episode of Mr.
Mc Duller, to the one who people Mac Ruler told him and that for
jeer it was make rule, baker chombo that was ruined in a population
name Andagoya, for excessive trust in giving to the one trusted
its merchandise. The dancers go chanting the narration of the history
while they execute an allusive pantomime to the same one.
The
Pisón
Rhythm
that belongs to the traditional repertoire of the Coast south Pacific
that takes the rhythm of the currulao and the juga, but giving a
true laboreo (work) song. This dance is the peasant's true recovery
who after an arduous work, and at nightfall expressed its to feel,
combining in form melodious music, voices and movements.
