Parties, Rhythms and other Curiosities

The Four more important Parties of the Andean-amazon Culture

The rural religious party

The Mama Negra

Innocent and Sacred Kings

Andean Processions of Carnival

The solstice, Inti Raymi`s party or San Pedro and San Pablo`s party

The Equinox of september, Quilla Raymi or day of the right sun

The Coraza

The Corpus Cristi`s party in San Andres

Other Celebrations

Ecuadorian Popular Rhythms

Pasillo

Pasacalle

Albazo

Sanjuanito or San Juan

Danzante

Aire Tipico

The Chigualos

Ceremonials

Amazons

The Bomba

Others

Other Curiosities

Nationality native ecuadorian

The Prehispanic Mesuration of the time

Equinoxes and Solstises

Ecuadorian Popular Rhythms.

Our Country has pluricultural and multietnic characteristics for the wide variety of rhythms and customs, some with own forbear and other product of the sincretitation already consolidated or in process of coalition that go marking our cultural identity through the times.

This way, the Ecuadorian musical staff offers us a rich exhibition of rhythms that invite to discover the nostalgia, the love, the romance and our people's happiness. Being a small country, easily we can find countless coastal, amazon and mountain rhythms that facilitate to the exponent , to create versatile choreographies with folkloric or contemporary proposal.

There is not rhythm that a skilled choreographer cannot interpret it with scenic corporal movement,however, they are some that are those in a traditional way more either used by dance groups by its literary or rhythmic content. This way, we can find San Juanes, Pasacalles, Corridors, Cachullapis, Capishcas, among others.

PASILLO , considered as flag rhythm or national identity, with great European influences was born, according to the investigations , in the Great Colombia, therefore, is an error to affirm that Colombia, Venezuela or Centro América have the birth certificate of so beautiful rhythm. They were the real soldiers and men in holy orders seated in this part of America to counteract the independence movement who were it forging jointly with the skilled Criollos that had demonstrated a great talent for the arts. The Pasillo originally was composed like living room dance (small and slight steps) of there they have left giving some variations of time, depending on the geographical location where its creators are, for it easily finds Mexican, Central American, Colombian , Venezuelans, Uruguayans and until Cuban Pasillos. But the most outstanding thing is that the Pasillo found its more representative handle in what today is Ecuador, the delicate feather of its poets and its composers' give a great personality that has been very well taken advantage by the best interpreters, together have put to the Pasillo in the place in that today is, our main one relating musical at international level.

PASACALLE.- Rhythm or dance crossbreeds, with great European influences , probably arrived to America in the XVIII century, very similar to the Spanish pasodoble and the Mexican ballad (with certain variation of time) the three have the same dance style. Our ballet recreates in one of its choreographies a pasacalle of coastal court “Yo soy Montubio” of Luis Beltran, interpreted by Pepe Jaramillo Laurido master and music by Paco Godoy master.

ALBAZO.- Indigenous and crossbreed dances, its name is derived from the serenades to the dawn to announce the beginning of the popular parties, it is intoned in compass of 6/8. For one of the montubias choreographies of our Ballet, we have taken of the creation of the teacher Marco Tulio Hidrovo from Cotacachi, the albazo “Andá pero sin miedo” in the masterful interpretation of Segundo Dueñas in bandolín.

SANJUANITO OR SAN JUAN.- Before Columbus Rhythm that was born in San Juan of Ilumán, Otavalo what the investigating specialists say. Its intonation form and I rake varies of the sector where executes it. In San Juan's or San Pedro´s parties of the communities of Mojanda, Cayambe and their surroundings, it is own to listen this rhythm in Natural temper, of Galindo, Guanopamba or Granada. Several they are the Sanjuanes that our Ballet recreates them choreographically like part of its repertoire, of them can mention to the Grupo Tradicional Cayambe, Centro Cultural Pucará, among others.

DANZANTE.- Pure Rhythm of preponderant importance in the central provinces, originally is interpreted with bass drum and pingullo for the exit of the Dancers in Corpus Cristi's festivities and Parties of Sacred Kings. In our case, the extraordinary interpretation of the Centro Cultural Peguche directed by Mr. José Quimbo, is the relating one for two of our choreographies.

AIRE TIPICO.- Cheerful mestizo rhythm, main in all popular party, slighter that albazo or very similar to the “alza” from Los Ríos. For one of our choreographies, we have selected a typical air very well achieved in the voices of Fanny and Rosita, the famous Hnas. López Ron.

THE CHIGUALOS.- Luck of cooing and carols, ballads of infantile celebration , they are sung in angelito´s funeral or in the boy's Jesus celebrations . Derived customs of the living room games like “the pajara pinta!, the house of love, the fleuron, the marvel flower and in a particular way the "little hat”. From folklorist Mr.Guido Garay and his group, we have taken one of these chigualos to illustrate the Niño Montubio's Pass and the cheerful dance of counterpoint of the Butterfly and the Colorao.

CEREMONIALS.- Some rhythms used exclusively in ceremonial acts related with the agricultural rural calendar, are registrations that several musical experts call “Etnomusica”, the exquisite interpretation of their notes transfers us imaginarily to the origins of the cultural identity that our forbears were working to inherit us an own pure name and with root in this land. There the musical testimony of the Centro Cultural Peguche, Enrique Males and other outstanding teachers, which have taken some fragments for our ceremonial choreographies, are a clear demonstration of the talent in the investigative and interpretive process of so illustrious Ecuadorian people.

AMAZONS.- The sweet songs and rhythms of the Ecuadorian amazonia speak of the nature, of the intrinsic relationship between the man of the forest and the nature, of the balance and respect to the life, the bird, the puma, the love. We have recreated one of our dances from the sector, of the interpretation of the Centro Cultural Saucisa.

THE BOMBA.- Cheerful and noisely rhythm, born with the Banda Mocha, of vegetable instruments, characteristic of the afroecuadorian sector seated in the Valley of the Chota, Province of Imbabura. Mario Diego Congo, an outstanding singer and musician from Chota, interpret for the Ballet two bombs that allows us to demonstrate the happiness and sensuality of a noble town that is a preponderant prop in the development of our culture choreographically.

OTHERS.- Although for the wide variety of rhythms, it is not we possible to recreate in the scenario all those that exists in the Ecuador, it is important to mention some as a fair homage to the pluriculturality and multietnicity, mixing among ancestral, Creoles, mestizos and modern.

Incan Fox, waltz, tune, capizhca, cachullapi, yaravi, yumbo, boy's tone, carnival, marches, carols, Chilean or quiteñas, zambo, amorfinos, andareles, vortexes, among others that we have the pride to be their owners for historical inheritance