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.

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.

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.

 

INSTRUMENTAL TRAINING.

INSTRUMENTAL TRAINING.
 
The truest form of cumbia is purely instrumental, rhythmic patterns still vary with the instrumentation used in Compass 2/4 or 2/2, and has regional adaptations according to the predominance of an indigenous or black. It is traditionally performed and followed by the drum set: Caller, cheerful, drum and flute or bagpipes million male and female, maracas and gouache. The cumbia sung is a relatively close adaptation in which the singing of choruses and quartets and soloists alternate with that of the flute or the bagpipes million. The set of cumbia is a further evolution of the original set of drums, drum assembly being formed by the cheerful drum and the caller and, in some cases, by the drum. It is a dance merely sung, as Chande, with their palms and choirs, next to which were added after the whistles of the bagpipes or millos. 

BAGPIPES.

Indian ancestry aerophone Instrument: right pipes manufactured from cardon heart with a wax formation at one end in which is inserted a slot and a cylindrical appendage is generally based on a duck feather, by way and nozzle channel, respectively, with variable orifices between 3 and 6 to the lower body.

FLUTE MILLION.

Aerophone instrument that replaces indigenous bagpipes. Get other denominations as millet flute, reeds, can, or bamboo. It is open at its two ends, about 25 to 30 cm long and 1.5 to 2 cm in diameter, usually. It has four holes.

DRUMS.

Membranophones percussion instruments of African origin, consisting of a resonance box, usually cylindrical, but sometimes somewhat conical, and one or two membranes or animal leather patches covering the opening of the box.

GUACHE.

Idiófono rhythm instrument like maracas, and is responsible for accompanying these versatile and vivacious musical improvisations led by the cheerful drum coquetry.

THEORETICAL BACKGROUND.

HISTORY OF THE CUMBIA.

The Cumbia originated in the region of the Costa Atlantica. African and indigenous influences where couples danced in groups that move freely. Women carry lighted candles, they with their wide white skirts and invite the man to follow with a flirt subtle and funny.The Cumbia is the testimony of an entire historical process of the Atlantic Region. Developed over the colony, La Cumbia shows lque black man had to fight to conquer the indigenous woman who finally relented to make way for a new generation.In the music were rhythm of African drums and the melody of bagpipes and flutes Indians. And the costume is attributed to the Spanish. Cumbia is the fusion of three cultures.La Cumbia is for us the full example of what Colombian society is in essence, the result of the fusion of three cultures.Air typically dominant throughout the Atlantic seaboard. Its origin is undoubtedly African and eventually became the most representative expression coreomusical Afro culture. Among the characteristics of her dancing, man ranks of black and Indian woman. The Spanish are credited with the costume.
    Cumbia is the most representative musical air Colombia. About its origin, most recognize its triétnico folclorólogos ie, product contribution of three cultures: black African, Indian and white.

    The rhythmic structure provided black and percussion (drums) The Indian flutes provided (cane million and bagpipes) and, thus, part of the melodic line. The white, meanwhile, melodic and choreographic variations, and dress of the dancers.

    It should be noted that this ratio is somewhat arbitrary input, because there is no assurance that the melody and interpretation of the instruments are unique to one or another culture-with the exception of the black rhythm-and that while the flutes are of Aboriginal executing the same domain were first blacks, and later the mestizos, and very little of the Indians themselves. The reason is explained by the nature of the cumbia asincopado in both its pace and its melody.

    The same could be said of the choreography cumbia dance form because of men is without doubt black mark, while the dancing of women could be either indigenous, black and, why not, white, although some folklorists call attention to the hip movement of the dancers as a characteristic black and non-indigenous.

    Whatever the original source of the cumbia rhythm and dance as it seems at first gave the merger first black-Aboriginal, in the context of slavery, and then enriched by the contribution of Europeans. Today, cumbia clearly expresses the mix of Colombian culture.

PLACE OF ORIGIN.

According to the master José Barros (composer of the canoe, Black Christmas, etc.) Cumbia was born in the country of indigenous culture Pocabuy (who inhabited the region of Banco, Magdalena. Others argue that folclorólogos and cumbia musicians must have been born in Cienaga , Magdalena (near Santa Marta), or in Soledad, Atlántico (near Ottawa), or in Cartagena, because of the proximity to ports where initially entered the Spanish conquistadores and colonizers, Santa Marta and Cartagena.

     If nature is cumbia and indigenous Negroid, logic suggests that the birth had cumbia settlements near slavery, where blacks could externalize or express themselves freely, and where they could interact with the natives, and these sites should be near ports where blacks were admitted because of the slave trade. And, however it is very difficult to pinpoint the birthplace of cumbia, it's best to settle it was born somewhere in the Caribbean Coast Colombaina, near Santa Marta and Cartagena, facing the sea and with the weight of cricket slave. Other thesis, are hypothetical propositions. 



                                                            

OBJECTIVES.

OBJECTIVE GENERAL:

- To know and to go more deeply about the dance in colombia, specific the cumbia. and the main elements, and after transmit to the estudents.


OBJECTIVES SPECIFICS:

- To know the basics steps for dance the cumbia.
- To distinguish the wardrobe with the that is should dance the cumbia.
- To know how is the history of the cumbia.  

INTRODUCCTION.

Manuela Gómez Vanegas.
Shara Gómez Vanegas.
Daniela Arango Arango.
Ana Cristina Grajales Tamayo.

In this paper it is about dancing cumbia in Colombia.
The purpose of this paper is to present some data and historical overview of this dance.
Talk about their dance forms, on the steps.
Transmit knowledge to students and help them learn the dances of our country, Colombia, especially cumbia.
This work is done for academic purposes and will serve as a learning tool for students and to develop all the skills in English.