WORKSHOPS
The workshops are at the heart of this intercultural educational Project. Following the sway of the Atlantic Ocean in the historical musical waves between Africa and Mexico we played with children and youth forming a musical dialogue between Mali and the Black coast of Oaxaca. We carried out three workshops with male and female children and youth from Santiago Llano Grande, la Banda, and with professional musicians from Mali and different areas of Mexico. We were in search of fine sounds that gave new life to the musical tradition in this Oaxacan coastal Black population.
Distributing instruments and repertoires from local traditions, a pot, la charrasca, la guacharasca, el cajón, la tarimba, violins, guitars and the bajo quinto (see the description in this section). This was facilitated by the children prior familiarity with local genres such la chilena, el merequetengue, and the son de artesa. In this way a dialogue with Mali musicians began. The two musicians, members of the trio Da Kali, Lassana Diabaté playing on the balafón – an ancestral instrument to the marimba – and singer Hawa Kasse Mady Diabaté were brought over to Mexico by Lucy Duran, specialist in the music from sub sarahran Africa.Read more

"Somos negros de la costa" Documentary

Balafon workshop II

Violin workshop II

Ensemble workshop: silencio corazon

Bajo Quinto workshop II

Bajo Quinto workshop I

Percussion workshop I

Violin workshop I

Balafon workshop I
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"Somos negros de la costa" Documentary
Directed by Sergio Navarrete Coordination of workshops: Sergio Navarrete and Lucy Durán Photography: Gustavo Mora, Bernardo Porraz, Pablo Márquez, Sergio Navarrete, Carlos Ruiz. Edition: Elías Nahmías, Sergio Navarrete and Bernardo Porraz Participating teachers: Lucy Durán, Sergio Navarrete, Lassana Diabaté, Hawa Kasse Madi Diabaté, Rubén Luengas, Edgar Serralde, Pablo Márquez, Rie Watanabe, Omar Durán, Natalia Arroyo, Ignacio Carrillo, Víctor Hugo Laredo Morales, Simitrio Herrera, Juan Morales and Crisógono Prudente. -
Balafon workshop II
First balafon: Lassana Diabate Singer: Hawa Kasse Mady Diabate Second balafon: Omar Duran Bajo quinto: Ruben Luengas Charrasca: Crisogono Prudente Children: Gildebrán Herrera Perez, Francisco Filogonio and Ary Ceylin Lopez Viruel Kulanjan song Photography and edition: Bernardo Porraz Santiago Llano Grande "La Banda" November 2016 -
Violin workshop II
Teacher: Rie Watanabe Santiago Llano Grande "La Banda", Santiago Llano Grande, Oaxaca, Mexico April 2016 Photography and edition: Bernardo Porraz -
Ensemble workshop: silencio corazon
Ensemble of the workshop: Chilean "Silencio Corazon" Santiago Llano Grande "La Banda", Santiago Llano Grande, Oaxaca April 2016 Photography and edition: Bernardo Porraz -
Bajo Quinto workshop II
Teacher: Ruben Luengas Research: Sergio Navarrete Pellicer and Ruben Luengas Photo: Bernardo Porraz Edition: Bernardo Porraz and Sergio Navarrete Santiago Llano Grande "La Banda", Santiago Llano Grande, Oaxaca April 2016 -
Bajo Quinto workshop I
Teacher: Ruben Luengas El Ciruelo, Pinotepa Nacional, Oaxaca, Mexico Santiago Llano Grande "La Banda", Santiago Llano Grande, Oaxaca, Mexico From the 7th to the 30th of October, 2015 Photography: Gustavo Mora Edition: Bernardo Porraz -
Percussion workshop I
Teacher: Ignacio Carrillo El Ciruelo, Pinotepa Nacional, Oaxaca, Mexico Santiago Llano Grande, Santiago Llano Grande, Oaxaca, Mexico From the 7th to the 30th of October, 2015 Photography: Gustavo Mora Edition: Bernardo Porraz -
Violin workshop I
Teacher: Natalia Arroyo El Ciruelo, Pinotepa Nacional, Oaxaca, Mexico Santiago Llano Grande, Santiago Llano Grande, Oaxaca, Mexico From the 7th to the 30th of October, 2015 Photography: Gustavo Mora Edition: Bernardo Porraz -
Balafon workshop I
Teacher: Fode Lassana Diabate El Ciruelo, Pinotepa Nacional, Oaxaca, Mexico Santiago Llano Grande "La Banda", Santiago Llano Grande, Oaxaca, Mexico From the 7th to the 30th of October, 2015 Photography: Gustavo Mora Edition: Bernardo Porraz
LA TARIMBA
La tarimba se usaba para animar los bailes y propiciar el cortejo entre los jóvenes y actualmente ya no se usa. A través del taller se ha puesto atención a instrumentos de la región que aunque ya no se ven han formado parte de la tradición de los pueblos negros de la costa chica. [1] Carlos Ruíz Rodríguez, “La tarimba del Potrero Oaxaca” en En el lugar de la música.Testimonio musical de México 1964-2009 INAH 2008:195-203. |
BALA
One of the myths of creation of the bala revolves around the origins of the reign unified by sunjata and the Mande culture. A story of the BALA according to LASSANA DIABATÉ’s oral account. A young girl and her younger brother were the offspring of a king. One day the girl left her house to explore the world. She visited many places until she came across a big witch, the devil in the form of a person. She got to know him and fell pregnant. As he was the devil he told her that he could not stay with her and he sent her home. Before she departed he gave her two gifts telling her, “this present is a bala for my child who you are carrying inside and the other is a rifle [sic] for your younger brother”. With this the youth left to return home. When she arrived she gave the gun to her brother and put the bala to one side until her child was born. Her brother was happy but also intrigued by the instrument he had never seen before. Why hadn´t he been given the instrument? The boy´s envy and curiosity moved him to steal and hide the bala. When the boy was older he became king Soumaoro Kante, king of the Susu kingdom. His most valued treasure was the bala that he kept hidden in a large room. It was said that this bala was very powerful; ¡In fact like the devil himself! If a fly landed on its keys, sound would come out in the form of a big hurricane. The Soumaoro king was a despot who mistreated his people who lived precariously under his tyrannical reign and his mean government. One day his people got together and asked Sunjata warrior for help. Sunjata received the plea of the Susu people. Sunjata had a local resident Jeli musician who sang stories about the his deeds and other stories. Following the rules of war Sunjata sent Fasigi Kouyate, the messenger musician, to advise and warn the enemy Soumaoro that they were going to war and that his yoked people who be set free. The messenger musician went to Soumaoro and using the normal protocol he delivered the message of imminent war. During his stay he discovered bala in the room and when he got the chance he went in and played it. The moment the keys were played the wind began to whistle and a dust storm rose. The Soumaoro king was furious as he entered the room. To pacify him the musician sang praising him and he did this so beautifully and convincingly that the king pardoned his life and made him a servant musician. When Sunjata received no news he started the war campaign and defeated Soumauro, liberating the population, the kingdoms were unified and Fasigi Kouyate, his musician was saved. Soumaoro fled and disappeared in the mountain caves to the east of Mali ( for more stories about Sunjata see the text by Eric Charry, Mande Music. Chicago and London, University of Chicago Press, 2000:40-43). |
ARTESA
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CARIÑAN OR KARINYAN The word possibly derived from the French carrillon, is the only instrument that Jelis women play accompanying their songs and their dances. The instrument which is a type of tubular with slots as a scraper and a handle It is played by scraping it with a thin metal mallet performing a gyratory movement of the wrist (See Eric Charry, Mande Music. Chicago and London, University of Chicago Press, 2000:93). |
BAJO QUINTO
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CONJUNTO DE ARTESA
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CONJUNTO DE DIABLOS El juego o baile de diablos se acompaña con un conjunto de armónica afinada en C, a la que llaman flauta, un tambor de fricción llamado “bote” pero también se le conoce como “arcuza” o “tigrera” y una quijada de burro, llamada charrasca, que se raspa con un cuerno de venado alternando con golpes laterales con el puño de la mano. El bote está hecho con un calabazo llamado “teconte”- también usado para guardar las tortillas- con un parche sobre el que descansa un palo encerado que se frota haciendo vibrar la membrana y produciendo un sonido parecido al rugido de tigre. |
FIRST WORKSHOP OCTOBER-NOVEMBER 2015 |
SECOND WORKSHOP APRIL 2016 |
THIRD WORKSHOP NOVEMBER-DECEMBER 2017 |
First workshop |
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Second workshop |
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Third workshop |
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Videos Rhythmic-melodic patterns of the repertoire of musical pieces practiced in the workshops of balafón. |
Sheet Music for teachers Students can exchange instruments and / or rhythms to learn and experience all the rhythms and timbres of the musical ensemble. |
Lyrics songs |