Zamba

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Different couples dancing a zamba.

The zamba is a musical genre and independent loose couple dance, with wide geographical dispersion in Argentina, which is danced intensely in the north and west of the country. It was proposed as the national dance of Argentina.

Origin and name

Musicologists partly agree that it comes from the zamacueca, which emerged at the end of the 18th century and the beginning of the 19th century in Lima, Peru.

The name "zamba" refers to the term that applies to individuals who are children of an Amerindian and a black person.

History

The first references to Zamba correspond to the first quarter of the 19th century, although everything indicates that it already had at that time several decades old, placing its emergence in the XVIII century. This destroys the version that maintains that it came from Zamacueca, but rather the opposite, Zamba would be the mother of Zamacueca since the latter is known to have emerged in the 1820s. The Chilean musician and composer of the time José Zapiola Cortés wrote in his memoirs: «Regarding the chicoteo dances, we remember that in the years of 1812 and 1813 the zamba and the grandpa were the most popular; both were Peruvians (original spelling)". Subsequently, in her September 5 entry in her Diary of my residence in Chile in 1822, the Englishwoman Maria Graham wrote: our friends entertained in dancing. They had gotten a couple of musicians and they danced minuets and popular Spanish dances, perhaps the funniest in the world. The ones I liked were the when and the zamba, danced and sung with more expression and enthusiasm than the city's customs allow, but without leaving the limits of the decorum.

The zamba then, born in Lima, arrived in Argentina between 1825 and 1830, in two ways: from the Peruvian capital it went to the halls of Jujuy, Salta and Tucumán, and from Chile to the halls of Mendoza.

Features

Rhythm

Its rhythm is a source of controversy, because there are some musicians who define it as a dance purely in 6/8 time, while others such as the musician Juan Falú consider that it is actually a dance with a mixed rhythm, with a base in 3/4 and a melody in 6/8, while there are others, such as Adolfo Ábalos or Hilda Herrera who maintain that this is a dance purely in 3/4.

Choreography

Photo of a zamba.

This dance can be divided into two sections or choreographic synopsis, which are each their own place for the dancers, woman and man. Carlos Vega made many compilations of the zamacueca in various of its forms (Cuyana cueca, Northern cueca) in his book published in 1953, which establishes as the general choreography of the variants the following sequence composed of the three main figures or choreographic elements:

  • (a) Full return: the dancers make a journey, that they begin each in their individual place, to pass through the one of the companions; and this is completed with the return to the proper place of the beginning.
  • (b) Round: the dancers pass from their sector to the other (place of positions); and thus describe a semicircunference in their journey.
  • (c) Arrest: (or "Festejo") the movements of the dancers are usually made in the central space, with twists in both senses, where the man in general crowns the lady with the movements of the handkerchief.

These elements are combined in two sections of the score, which are indicated lyrically by the musical performers: "first" and "second". The musical form of the zambas (at least the Argentine ones) is binary preceded by an introduction. It always begins with an introduction of 8 or 9 measures, which in many cases is announced beforehand by saying "the first one is leaving" or "first time" or something like that, the ninth measure is often an addition to give the warning "inside" which indicates that the dance is going to begin. It is followed by the first theme, which consists of 12 measures which are divided into three parts of 4 measures each: antecedent (4 c.) - non-conclusive consequent in harmony (4 c.) (in many cases it either remains dominant or resolves in tonic that later becomes dominant to go to the variant of the consequent) - variant of the consequent (4c.) that this time if conclusive (tonic). then it moves on to the second theme or chorus which has the same form as the first theme. then the same form is repeated from the introduction but before clarifying that "the second one is leaving".

The choreography, after the introduction, follows this order:

Arrests: (16 steps), with scarf, in the center, idem 2. They describe each arrest and exit in a series of four steps.

  • First arrest: left. They leave with their left foot. They join almost their handkerchief stretched almost to the height of the lady's face, taking it with both hands and giving them a slight fall to the side of the left advance.
  • Second arrest: to the right, they leave with the right foot taking the handkerchief to the same side.
  • Third arrest: opposite 2

Exit: towards the right, they leave with the right foot, carrying the handkerchief in their right hand and waving it as a sign of farewell. In the first stage the gentleman can raise the handkerchief over the lady's head. In the fourth period the opposite places remain. Half Turn: (8 steps) with a scarf, going to the center.

Arrests: eight steps with a handkerchief, as in the second section.

Final half turn: (7 steps) with a scarf changing places and going to the center.

Second: equal to the first, it starts from opposite places. The gallant's siege is identified in this part and the lady accepts it at the end, both of them dancing more passionately. In the finale the knight crowns the lady by delicately placing her outstretched handkerchief, taken with both hands, behind the lady's head.

Cosquín, stage of the main Argentine folklore festival

Steps used

Simple: formed by 2 movements that enter into a measure. From the initial position, do:

  1. Side displacement with right, which supports the entire foot floor and receives the weight of the body. The displacement is made following the curved line of the entire round, guiding the tip of the feet towards the center of the circle.
  2. Side displacement with left, crossing in front of the right and supporting the entire foot floor, while receiving the weight of the body. It can also be done for the opposite side.

With overstep: formed by 4 movements that enter into a measure and a half. From the initial position, do:

  1. Side displacement with right, which supports the entire foot floor and receives the weight of the body.
  2. Side shift from the left, crossing ahead of the right and supporting the entire foot floor, while receiving the weight of the body.
  3. Side removal of the right equal to the first movement.
  4. Side shift from the left that, this time, will be placed next to the right and supporting with the whole floor of the foot. It can also be done on the other side.

With plucking: it has 3 movements that enter half a measure. From the initial position, do:

  1. Side forward from the left foot ahead of the right and supporting the entire foot floor at the same time that it receives the weight of the body (equal to the second movement of the simple step).
  2. Hit the tip of the right foot in the place where it remained (behind the left).
  3. Side advance of the right foot, which supports the entire plant and receives the weight of the body.

In the execution of these 3 steps, it must always be taken into account that the route has a circular shape due to the figures it includes (full turn, half turn, etc.), therefore it must be ensured that at all times the tips of the the feet face towards the center of the circle or towards the partner.

Figures

  • Full return (8 compases): the dancers turn around in 16 steps, finding themselves in the center. The first 4 or 8 with walks, and the others with step of Zamba.
  • Single Arrest (4 compases).
  • Half lap (4 compases): in 8 steps the dancers change base.
  • Double Arrest (8 compases): traditionally consists of 2 arrests taking place in 16 steps.
  • Half lap (4 compases).
  • Single Arrest (4 compases).
  • Final round and coronation (4 compases): the dancers in 8 steps change base and are in the center of the dance picture.
A couple dancing zamba in the streets of Buenos Aires.

Zamba carpera

In Argentina there is a variant of zamba called zamba carpera. When the heat was very strong in the north, the populations and families who lived downland went up to the mountains where the temperatures were a little more acceptable, and since they could not carry their homes, they brought tents, and this type of zamba was played at the meetings., hence the name zamba carpera

The zamba carpera has a more staccato and lighter rhythm than the common zamba, its sounds are reminiscent of those of the chacarera and, since its music is usually done with bandoneon, it is also reminiscent of the use of & #34;accordions" that is made in the chamamé.

Zamba de Vargas

This zamba is one of the most remembered due to its historical importance. It is linked to the Battle of Pozo de Vargas between the Federal Montonera led by Felipe Varela from Catamarca and the Santiago brothers Manuel and Antonino Taboada at the head of the Liberal Forces who, although smaller in number, were the winners.

Happy zamba

It is a Creole creation that was danced in the central region of the country. The version given to us by Andrés Chazarreta (1916) comes from Santiago del Estero.

It is danced with a couple, facing each other, with a handkerchief and with castanets. This dance has a musical peculiarity, it has two movements, the zamba and the gato, alternating 16 bars of zamba, 16 bars of cat and 12 final bars of zamba.

It is a courtship dance for a loose and independent couple.

It was recorded by the Ábalos Brothers for RCA Victor, this dance, said Vitillo Abalos, at first it was instrumental, it had no lyrics. Finally it was decided to write one.

One of its verses says

..." Inside my chest I have

A very loud drum

It's extremely naughty

More like a roundabout colt"...

The cat verse says:

... "Tomorrow when I leave

Who knows where I will walk

Vidalas and chacareras

Who knows what things I will sing#34;...

And the chorus in zamba time says:

... "This is the happy zamba

With legüeros drums it was cradled

Zamba with chacarera

Born in the land of mistol

This is the happy zamba

Mesmita that the same heart"...

Zamba Refalosa

La Refalosa o Resfalosa.
Zamba Refalosa.

La Refalosa is a dance that is linked to the Zamacueca, also known as "Resfalosa". It was a very popular dance in the 19th century in Chile after members of the Andean army brought it from Argentina..

Some of the best-known zambas

(in alphabetical order)

  • Shaking scarves (Brothers Ábalos)
  • Alfonsina and the sea (letra: Felix Luna, music: Ariel Ramírez), 1969
  • To the garden of the Republic (Virgilio Carmona)
  • Aleluya santiagueña (Julio Argentino Jerez)
  • Angelica (Roberto Cambaré)
  • Yearalgia (Les Luthiers)
  • White and blue (chanted by Mercedes Sosa)
  • Balderrama (letra: Manuel J. Castilla, music: Gustavo ''Cuchi'' Leguizamón), 1969
  • Campana de palo (air de zamba) (María Elena Walsh), 1971
  • The Art of Love (Marcelo Flores)
  • The Paraná in a zamba (letra: Jaime Dávalos, music: Ariel Ramírez)
  • Guitar (letra and music: Carlos Di Fulvio), 1958
  • Juan Panadero (letra: Manuel J. Castilla, music: Gustavo ''Cuchi' Leguizamón
  • 7 April (letra: Pitin Salazar)
  • The old lady (letra: Atahualpa Yupanqui, music: Nabor Córdoba)
  • The injured (letra: Manuel J. Castilla, music: Eduardo Falú)
  • La López Pereyra (Artidorio Cresseri), 1901
  • Childhood (Chacho Muller)
  • The evening (letra: Jaime Dávalos, music: Ernesto Cabezas)
  • The poor thing. (Atahualpa Yupanqui)
  • The pomeña (letra: Manuel J. Castilla, music: Gustavo ''Cuchi'' Leguizamón), 1969
  • The Unnamed (letra Juan Carlos Cupaiolo, music Tito Romero)
  • I'll cry (Gustavo ''Cuchi'' Leguizamón), 1955
  • Captive moon (letra and music: Chango Rodriguez)
  • Tucumana moon (Atahualpa Yupanqui, Pablo del Cerro), 1949
  • My grandmother danced the zamba (letra: Saul Cuti Carabajal, music: Carlos Peteco Carabajal)
  • Much more than loving (Letra and Music: Betiana Dos Santos, Ivan Pacheco), 2011
  • Woman, girl and friend (Robustiano Figueroa Reyes)
  • Landscape of Catamarca (letra and music: Rodolfo María Polo Giménez), 1950
  • To go find you (Ariel Petrocelli)
  • Pastor of clouds (letra: Manuel J. Castilla, music: Fernando Portal)
  • Carnival Perfume (Music and Letter: Peteco Carabajal)
  • Stone and road (letra and music: Atahualpa Yupanqui)
  • Don't ever miss a zamba (Letra and Music: Horacio Aguirre, Tomas Campos, P.S.Fleita)
  • Rosarito Vera, teacher (letra: Felix Luna, music: Ariel Ramírez), 1970
  • Sapo cancionero (letra: [Nico Toledo - Alejandro Flores of Chile], music: Hugo Jorge Chagra, 1962
  • If he comes to Tucumana (letra: M.A. Pérez and music: Gustavo "Cuchi" Leguizamón)
  • No Olvido (letra and music: Betiana Dos Santos) 2007
  • Dream tarija (Huáscar Aparicio)
  • Happy time (chanted by Esther Marisol)
  • A journey to ours (letra and music: Betiana Dos Santos, Ivan Pacheco), 2011
  • He's coming. (letra: Atahualpa Yupanqui, music: Second Aredes), 1943
  • I will always return to San Juan (Ariel Ramírez, Armando Tejada Gómez)
  • Blue zamba (letra: Armando Tejada Gómez, music: Tito Francia)
  • Chilean Zamba
  • College Zamba (generally interpreted by boys)
  • Zamba del carnival (letra: Manuel J. Castilla, music: Gustavo ''Cuchi'' Leguizamón)
  • Zambita of the poor (Atahualpa Yupanqui)
  • Zamba de Las Tolderías (letra: Buenaventura Luna, music: Oscar Valles, F.Portal)
  • Zamba de Lozano (letra: Manuel J. Castilla, music: Gustavo ''Cuchi'' Leguizamón)
  • Zamba of my hope (Luis H. Morales pseudonym of Luis Profili), 1964
  • Zamba de Vargas (traditional, compilation of Andrés Chazarreta)
  • Zamba del grid (Atahualpa Yupanqui)
  • Zamba del Che (letra and music: Rubén Ortiz)
  • Zamba de la Candelaria (letra: Jaime Dávalos. Music: Eduardo Falú)
  • Zamba del chaguanco (letra: Antonio Nella Castro, music: Hilda Herrera), 1966
  • Zamba to not die (letra: Hamlet Lima Quintana, music: Norberto J. Ambros and Héctor Alfredo Rosales), 1965
  • Zamba to forget (letra: Dr. Quintana, music: Daniel Toro)
  • Zamba for you (letra and music: Alfredo Zitarrosa, Uruguay).
  • Zamba and Acuarela (letra and music: Raly Barrionuevo