La flauta zapoteca

Grupo Biniguenda
Sones Zapotecos de Juchitán


01. Nisiaaba Ne Bapu
02. Estomago Vacio
03. Pitu Nisiaab
04. El Perro Del Diablo
05. Danza Del Tigre
06. Bere Xhiga
07. Son Telayu
08. Viejo Lucuxu
09. Muchacha Cara Fea
10. Anastasia
11. Semana Santa
12. Xmale Guzina
13. Guzee Benda
14. La Mareña
15. La Llorona
16. La Ultima Palabra
17. Bigose Guixi'


Flauta: Germán López López
Redoblante: Feliciano Luis López
Bombo: Cecilio Santiago Castillo
Carapacho: Virgilio Luis López
Redoblante: Ramiro Martínez Vázquez
Sones Juchitán Zapotecos
by: Rene Villanueva

The Zapotec people of Oaxaca have developed and preserved a culture of strong personality and distinctive. One of them is language. Despite the common origin, they differ by geography variants that are up to six or nine, according to the authors who classified. His tonal language status (tone of voice determines the meaning of the word) makes this language has a musical sound. While he has received many Spanish loans, has retained its strong structure basically unwritten language preserved by oral tradition. However poetry and songs are composed and until recently has started her writing.
Juchitán is an important center of Zapotec culture, preserved and transmitted by its inhabitants speak mostly of the ancient language than Spanish. Tracing the flute or whistle Zapotec heard in the field recordings in 1965 with the strong support of the painter Francisco José Raúl Hellmer Toledo made the masters of the flute Don Lopez and Isidro Melesio Regalado, wanted to assess how much the tradition was preserved after more than thirty years he had done his research. The agaves that he met and recorded as dead, so the question was valid. Fortunately for us, awareness and appreciation of their culture with the people Juchiteco now allows us to enjoy this tradition through the transmission is maintained through generations.

The transmission of culture as a value which we pass from one to another generation, a fundamental guarantee for the peoples: identity and roots, which are not incompatible with progress and changes that each season brings, but on the contrary, allow how to select the elements of these changes to assimilate when they go in the sense of history and feel of each town and not the result of external imposition of so-called modernity are but the old tactics of dispossession and subjection to hegemonic powers with ideology archaic but equipped with technologies developed. Thanks to that cultural transmission, the young musician Heberto Torn Juchitán introduced me to his flute master Don Germain López López, who agreed to be recorded part of his vast repertoire.

Don Germain says: "The traditional Zapotec flute with eight holes, six up, one down and one back. Special reeds are used longer, to accommodate the holes and the nozzle. Now scarce the reed, because it cleared the river after Cyclone flooding Paulina.'re growing some but are very short and does not reach out a flute. The reeds grow in the most mountainous part of the river, where there are more trees. As long sticks In the air, so there grows, there is growing longer the joints. They are in a part that tells isunaa, Paso Cruz. For all this part near the village, most were not. I also makes drums and flutes. The drums that do not are parts, the body is one piece of guanacaxtle, a very fine wood, hollowed out with gurbia. There are still some of that wood, because it reaches the mill and takes it all. The straps are frijolillo and is leather tie deer or goat, the patches are also goat. There are drums of different sizes. It used to be played with one drum pore now use the bass or drums, and is heard more beautiful. The sticks are all wood. It touches with a tortoise shell and given to deer. It is played here. The huaves play with different shells and their music is different. "

The reed flute is Juchiteca seven holes, six in front and one back, which has peak mouth air duct is made of wax. Is adapted to Western notation, but by crafting the pitch and tone are in most cases approximate and are resolved at the discretion of performing musician. It is not intended rigor and accuracy of tuning of an instrument of conservatory, suffice to allow playing the traditional repertoire. The traditional set called Piter yaa to play the sounds or sounds authentic Ismene accompanying the flute has two double patch drums, one big drum and bass sound or other acute or snare sound. A tortoise shell hammered with two deer antlers complete the envelope and give the set a rich tone. The shell is involved along with two drums on the old tunes that Don Germain called pre-Hispanic and retain more features and elements Zapotec Indians. The two drums acompaflan to traditional tunes, many of which agaves have been adapted for the flute, as are those who dance at parties, as Anastasia, The Marena. La Llorona, etc.

This recording is the way of gratitude, knowing and recognizing the beauty of the music of the Zapotec people, as well as a fitting tribute to the art of Mr. Germain López López, master of the flute.

translation amigo google ; )


arvind said...

Thanks very much, mi!

Every time I come here, I know I'm going to find some music I knew nothing about previously. You open up my world on a constant basis! Thanks so much, and keep on keepin' on :)

Miguel said...

I will ... :)