lunes, 12 de noviembre de 2012
jueves, 8 de noviembre de 2012
CONCLUSIONS.
Conclusions
This work allowed us to go deeper in the cumbia, including its history, where it originated, its rhythms, instruments, and other things.
Thanks to this research on cumbia met part of a stage in our history, from the national perspective, also met on the types of cumbia and choreography.
Finally we make a notion of what is understood cumbia which according to our investigations:
Cumbia is a musical genre and traditional folk dance and Colombia.
Cumbia is a dance and rhythm with cultural contents of three different aspects: indigenous, black, white (Spanish), being the result of long and intense mixing between these cultures during colonial times.
viernes, 19 de octubre de 2012
CHOREOGRAPHY.
The dancers come into the picture from the bottom in double file, the women on the left, men on the right, draw a semicircle, women are on one side and men on the other, are again in the middle, then man and woman are rolling about themselves at that point. Then move to form a circle that begins with cumbia.
The woman dances upright with his right arm holding up a pack of candles and left hand lifting one end of the skirt to the waist. Dance sliding on the floor, never put your feet up, the hip movement is moderate and rhythmic.
He always supports the entire sole of the left foot as the pivot, and the right only supports the metatarsal, raising the heel. Performs somersaults, gestures, makes gestures, stripping the teeth, tongue out, shrugs, bends, is removed and put back hat, gives women more candles, which he danced in front of the sides, behind and turns around.
STEPS.
1: Chime drum. Women describe the first circle and keep their training. Every couple faces, she fakes her even and this avoids. Then women progress retaining ring formation.
2: The man describes a circle around the woman, behind her is initiated and returns to the starting point.
3: The slick appears to place your left forearm on the shoulders of the woman to ask her for a ride. The imagination loose, separates and turns on itself, while his full woman and move on.
4: The woman described a circle around the man. Start at the left side and move on.
5: The man made another lap around you
r partner, running ahead passes first figures and flirtations. Fill around behind and returns to its initial position. 6: The woman three steps back, turns on itself and makes the gesture of burning the man with the hammer candle. Then keep moving.
7: The man insinuates take your partner by the waist and then move away together.
The woman dances upright with his right arm holding up a pack of candles and left hand lifting one end of the skirt to the waist. Dance sliding on the floor, never put your feet up, the hip movement is moderate and rhythmic.
He always supports the entire sole of the left foot as the pivot, and the right only supports the metatarsal, raising the heel. Performs somersaults, gestures, makes gestures, stripping the teeth, tongue out, shrugs, bends, is removed and put back hat, gives women more candles, which he danced in front of the sides, behind and turns around.
STEPS.
1: Chime drum. Women describe the first circle and keep their training. Every couple faces, she fakes her even and this avoids. Then women progress retaining ring formation.
2: The man describes a circle around the woman, behind her is initiated and returns to the starting point.
3: The slick appears to place your left forearm on the shoulders of the woman to ask her for a ride. The imagination loose, separates and turns on itself, while his full woman and move on.
4: The woman described a circle around the man. Start at the left side and move on.
5: The man made another lap around you
r partner, running ahead passes first figures and flirtations. Fill around behind and returns to its initial position. 6: The woman three steps back, turns on itself and makes the gesture of burning the man with the hammer candle. Then keep moving.
7: The man insinuates take your partner by the waist and then move away together.
DRESS TO DANCE CUMBIA.
Women wear skirts wide and two styles of blouses: the closed, three-quarter sleeves with ruffles, which are also present on the top of her blouse, falling to about 50 inches from shoulder. By going back Fitted at the waist and loose totally ahead. In warmer climates using other low-cut blouse with a big wheel around the shoulders and waist is fastened to the skirt. The woman wears on his arm raised one or more bundles of candles (formerly wore tufts usual public holidays), with which illuminates yet defends man's insistence. In the head and carried bouquets of hibiscus on the necks necklaces of various colors.
The men wear long pants and white shirt. The shirt has a round neck, chest adorned with long sleeves and closed fist. The pants is tied in the back. Men also sport a red kerchief around his neck, hat or vueltiao shell jobo, backpack and a machete in his belt holster.
The men wear long pants and white shirt. The shirt has a round neck, chest adorned with long sleeves and closed fist. The pants is tied in the back. Men also sport a red kerchief around his neck, hat or vueltiao shell jobo, backpack and a machete in his belt holster.
TYPES OF CUMBIA.
Several regional patterns of cumbia: Sampuesana cumbia, soledeña, Cienaguera, momposina, sanjacintera, Cartagena, cereteana, magangueleña, among others.
- CLASSIC CUMBIA.
The cumbia is played with classical instruments like kuisi Sigi, the maraca kuisi Bunzi and sometimes accompanied the suaras. This is a zambo air that is formed by a native melody and rhythm of drums black, never sing, dance and is just totally instrumental. It is worth mentioning that there are other Caribbean rhythms are based Colombian cumbia as bullerengue, the thugs and the chantey.
- SABANERA CUMBIA.
In the savannas of Córdoba, Sucre and Bolivar, cumbia band runs pelayera leaf or band.
COMERCIAL OR MODERN CUMBIA.
In the modern cumbia are instruments like the clarinet, gouache, maracas, drum caller, cheerful drum and bass drums, synthesizer, piano, and woodwinds guacharaca typical Caribbean.
CUMBIAMBA.
Many authors in their writings make difference between cumbia and cumbiamba or also say that blacks who came from Africa to be slaves brought their dances and special tunes, and as time passed, they learned Castilian and began to sing in English. Currently about Colombian rivers where Africans were installed at the time and resonate currulao mapalé and dancing cumbia or cumbiamba.
- CLASSIC CUMBIA.
The cumbia is played with classical instruments like kuisi Sigi, the maraca kuisi Bunzi and sometimes accompanied the suaras. This is a zambo air that is formed by a native melody and rhythm of drums black, never sing, dance and is just totally instrumental. It is worth mentioning that there are other Caribbean rhythms are based Colombian cumbia as bullerengue, the thugs and the chantey.
- SABANERA CUMBIA.
In the savannas of Córdoba, Sucre and Bolivar, cumbia band runs pelayera leaf or band.
COMERCIAL OR MODERN CUMBIA.
In the modern cumbia are instruments like the clarinet, gouache, maracas, drum caller, cheerful drum and bass drums, synthesizer, piano, and woodwinds guacharaca typical Caribbean.
CUMBIAMBA.
Many authors in their writings make difference between cumbia and cumbiamba or also say that blacks who came from Africa to be slaves brought their dances and special tunes, and as time passed, they learned Castilian and began to sing in English. Currently about Colombian rivers where Africans were installed at the time and resonate currulao mapalé and dancing cumbia or cumbiamba.
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