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Afro-Peruvian music, Black Peruvian Music, Música afroperuana, or Música negra, is a type of Latin American music first developed in Peru by enslaved black people from West Africa, where it is known as Festejo. The genre is a mix of West African and Spanish music.
In Peru, those traditions mixed with Spanish popular music of the nineteenth century, eventually growing into what is commonly known as Afro-Peruvian music. The Marinera, festejo, landó, tondero, zamacueca, and contrapunto de zapateo musical genres, among others, involve rich dance and ritual traditions.
In Peru, those traditions mixed with Spanish popular music of the nineteenth century, eventually growing into what is commonly known as Afro-Peruvian music. The Marinera, festejo, landó, tondero, zamacueca, and contrapunto de zapateo musical genres, among others, involve rich dance and ritual traditions.
Afro-Peruvian music has its roots in the communities of black slaves brought to work in the mines along the Peruvian coast. As such, it's a fair way from the Andes, culturally and geographically.
Tony Succar brings folkloric Afro Peruvian rhythms such as Landó & Festejo to Miami. His band "Mixtura" is made of musicians from Cuba, Venezuela, Peru, Arub...
Afro-Peruvian music is a story of ingenuity and creativity, of joyful rhythms that prevail over a brutal history. Sexy, spirited and full of raw emotion, it is a world away from the pan flutes of the Andes. It is the distinct sound of black Peru and no less a part of the cultural fabric of the country.
Peruvian folklorist Susana Baca is known for bringing Afro-Peruvian music to stages around the world. She also served as Peru's minister of culture. Her latest album is called, Palabras...
Music and dance are the lifeblood of Afro-Peruvian culture, serving as a powerful medium for expressing joy, sorrow, and cultural identity. The rhythmic beats of the cajón, a wooden box drum, underpin energizing dances like Festejo, characterized by its playful steps and flirtatious gestures.
Enslaved Africans were forbidden from playing music on the plantations for fear that they would use the sounds to communicate revolt. And so they created an instrument that looked inconspicuous, a box drum that would become one of their most important creative modes of survival.
In the late 1950s to 1970s, an Afro-Peruvian revival brought the forgotten music and dances of Peru's African musical heritage to Lima's theatrical stages. The revival conjured newly imagined...