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Argentine caudillo Juan Manuel de Rosas, an example of a criollo of full-Spanish descent. The word criollo and its Portuguese cognate crioulo are believed by some scholars, including the eminent Mexican anthropologist Gonzalo Aguirre Beltrán, to derive from the Spanish/Portuguese verb criar, meaning 'to breed' or 'to raise'; however, no evidence supports this derivation in early Spanish ...
The Spanish lyrics use the image of a migrating swallow to evoke sentiments of longing for the homeland. It became the signature song of the exiled Mexicans. The song was recorded in 1906 [2] by Señor Francisco. [3] [4] A guitar instrumental was recorded by Chet Atkins in 1955. The song has also been recorded by Caterina Valente (1959) Nat ...
Música criolla, Peruvian Creole music or canción criolla is a varied genre of Peruvian music that exhibits influences from European, African and Andean music. The genre's name reflects the coastal culture of Peru, and the local evolution of the term criollo, a word originally denoting high-status people of full Spanish ancestry, into a more socially inclusive element of the nation.
"Cielito Lindo" is a Mexican folk song or copla popularized in 1882 by Mexican author Quirino Mendoza y Cortés (c. 1862 – 1957). [1] It is roughly translated as "Lovely Sweet One". Although the word cielo means "sky" or "heaven", it is also a term of endearment comparable to "sweetheart" or "honey".
The song "Que nadie sepa mi sufrir", was composed in 1936 by Ángel Cabral, with Spanish lyrics by Enrique Dizeo, both of Argentine origin, as a Peruvian waltz.Peruvian waltz, also known as vals criollo ("creole waltz"), was a popular genre in Hispanic America between the 1930s and 1950s, and the song, initially covered by Argentine singer Hugo del Carril, became a regional hit.
Louisiane Creoles were also referred to as criollos, a word from the Spanish language meaning "created" and used in the post-French governance period to distinguish the two groups of New Orleans area and down river Creoles. Both mixed race and European Creole groups share many traditions and language, but their socio-economic roots differed in ...
The Song of the Black Woman) is a Mexican folk song, originally from Tepic, Nayarit, [1] before its separation from the state of Jalisco, and best known from an adaptation by Jalisciense musical composer Blas Galindo in 1940 for his suite Sones de mariachi. [2] [3] [4] It is commonly referred to as the "second national anthem of Mexico."
The song "La Adelita" depicts the brave women who fought and traveled with the Federales and the revolutionary army. [3] The song speaks of Adelita as someone who is pretty and the object of desire for many of the soldiers, but who also has bravery and commands respect. [3] However, this was not the case.