Tondero

Couple of kids dancing tondero.

The tondero is a northern Peruvian Creole dance and musical genre. Currently, both the province of Morropón in the Department of Piura and the city of Zaña in the Department of Lambayeque dispute the origin of said song and dance. The northern tondero derives from the musical and cultural miscegenation that occurred between the gypsy people (who came as migrants from southern Spain and eastern Europe) with Afro-Peruvians and northern natives. The colonial miscegenation of these three towns is clearly noticeable in their idiosyncrasies embodied in both singing, lyrical, and dancing. It is a dance for couples and it extends throughout the northern coast of the departments of La Libertad, Lambayeque, Piura and Tumbes.

Etymology

The "tondero" derives from the modification of the term "lundero" that took place in the well-known dance called the Afro-Peruvian zana of Lambayeque. Further north, in Piura, a kind of "lundero" but with a different characteristic in the repetitive thumping guitar that sounded "Ton-Ton-Ton". For this reason of "lundero" the "ton" and it became a fool. It is also possible that it is a species derived from the term "Volandero" from the old Bolero of musical origin derived from gypsy music The terminology lies in the inspiration of the "fly" or "the flight of birds", a common figure in all gypsy music that speaks of their wandering past (as in gypsy flamenco).

This musical genre was born between the northern cities of Morropón,^{[citation required]} and Zaña. And it differs from the rest of the Peruvian Creole genres played on guitar, due to its rural and provincial spirit.

History

The northern tondero derives its attributes and miscegenation from three ethnic groups or races mentioned: Europeans, Africans, and northern indigenous people.

In this way, the dance takes postures, steps and stomps from the bulerías and fandangos of gypsy flamenco from Spain as well as hip movements and rhythms of the "zaña" or the "lundero" come from sub-Saharan Africa. It is in the north of Peru during the colonial era where the Africanization of the rhythms brought by the gypsies and the coexistence of these with the now Afro-Peruvian descendants in the haciendas and the outskirts of the city arises. As a result of this, native indigenous elements are also incorporated, especially in the shrieking of the high-pitched parts of the guitar, and Spanish influences are shared in what comes to be the decoration of traditional clothing. Let's not forget that there are antecedents of the tondero in the old "Danza de la pava", extinct and of possible indigenous origin, as a third element of the miscegenation of the northern tondero. In northern Peru there was a dance of pre-Hispanic origin that imitated the mating of the White-winged Guan.

From this magical miscegenation between figures of wandering birds, in love and ready for mating, the northern tondero was born. Between the Piurano-Lambayecano Field. This is indicated even in the lyrics of a tondero called "De la misma sangre": "were the vicious blacks witnesses of this boy (they testified receiving him from Piura) that thank God he is male and that in Chiclayo he fought".

In other words, since his guitar túndete rhythm came from Piura, he was taken to Chiclayo and/or presented in one of the "Peleas de Gallos". Between Piura and Lambayeque.

It is important to know that the northern tondero had differed from the Lima Zamacueca and the other Marineras by wearing the recognizable Piuranísimo "túndete" guitar and for being basically a country dance and song. Let us also not forget the expression of the famous "Sad with Fuga de Tondero". Where the "sad" which is a "Yaravi" Andean that descended towards the coast to complete and finally represent the entire northern population of Peru.

The tondero is Peruvian magic come true and the fruit of miscegenation. As mestizo as the colonial character who traveled (and still travels today) on a donkey or mule, known as the Piajeno (foot, alien). Dressing man from Tondero, connoisseur of "cockfights", "man who is not from here", since he is basically a wandering man (well, a wanderer, undoubtedly) who travels long distances and as the tonderos say, to rest from the sun borrowing the shade of a carob tree, sing their sorrows, drink a chicha en poto and call themselves "foreigner".

Description and composition

Couple dancing tondero.

It is very common until today throughout the north of Peru, for the towns to meet in a thatch and carob hut, next to the visible white flag (indicator that there is light, chicha in poto), to start the revelry. It was in colonial times that the tondero changed to its current mestizo cadence. It was played on the harp in ancient times. Then came the guitar and the Peruvian cajón and/or also the previous use of an instrument prior to the Peruvian cajón called checo (Afro-Peruvian instrumentation).

The tondero is a very emotional dance and every city or town in northern Peru has its version. Its classic version consists of:

• a main singer,
• A small choir,
• two guitarists (one carries the tundete of course),
• two Peruvian drawers
• A spoon-player.

The music is accompanied by clapping and sometimes if there is no other cajón, the Czech is used. This one delivers you even greater sympathetic chime.

Today it is also played in drum and trumpet bands as a more modern form.

The Tondero is made up of:

1. The Gloss: It is the initial part of the tondero and that it continues either to the mestizo "triste" or to the criolla "cumanana". Within this one almost always begins a form of long and strewn singing, where the Gypsy origin of this music is visible. The main voice tragically shrinks and introduces us to the theme North America of this kind. Almost always the theme is machista, the loss of its Chinese (her wife), the lament or satire of a adultery, the loss of the harvest due to the lack of water or the excess of it (the El Niño phenomenon) is also a very northern theme without doubt. The way to play or the rhythmic base and the repique, is known as the Earth Golpe, related to the Gypsy Bulerias and African rhythms. The musical form in drum bands and trumpets is very similar to the music of the eastern European gypsies and is certainly compared to the walk of the Peruvian passing horses that are also part of the northern Creole folklore.
2. The Sweet: It is the intermediate and reaffirmative part of chanting. Where it almost always consists of repetitive choirs. This is the real African contribution to the rhythmic genre that is confused with the lyrical and rhythmic gypsy execution.
3. The Fuga: Final part of the dance. It is explosive, accelerated and very passionate, sung in choir or by main singer as well.