Festejo (from Spanish 'fiesta') is a festive form of Afro-Peruvian music. The dance is a staple in the Black coastal populations and it celebrates the emancipation of slaves. Festejo is recognized for its high energy and the improvisation carried out by the dancers. Some believe that its origins trace back to competitive dance circles performed by individuals playing cajóns. Despite its African origins, people of all different backgrounds participate in the dance that many regards as one of the greatest representations of Peruvian culture.
There are theories that describe the Festejo as a dance that began in Lima in the mid-17th century, but they do not provide evidence to support these hypotheses. No musical example has yet been established to show that this musical form existed before 1800. However, some Festejos dating from the 19th century have been identified. Since the middle of the 20th century, old Festejos have been collected from the areas of Lima, Aucallama, Cañete and Chincha.
According to musicologist William Tompkins, by the early 1900s the original choreography was almost completely lost. It is from 1949, that a standard choreography for the "Festejo" begins to be generated in the "Peruvian Folk Music and Dance School" (today the José María Arguedas National Higher School of Folklore).
It is from 1960 that this dance becomes the most widespread musical genre among Afro-Peruvian artists. In large part due to the popularity of the musical works by José Durand, Victoria Santa Cruz and Nicomedes Santa Cruz.
In 1971, the "Black Art Festival" of Cañete began, which for the first time included a contest where the best dancer is elected "Miss Festejo". Between 1975 and 1977, a composition contest for Festejo and similar genres was included.
It is in this decade that a new style of Festejo is popularized for women that some musicians call "valentina style", for which they dress in colorful skirts and bras.
Globalizationedit
Due to the advent of globalization, many Afro-Peruvian music genres (especially Festejo) have been experiencing influences from other cultures and genres of music.[1] Afro-Peruvian music was performed only in Afro-Peruvian communities to help create and maintain Afro-Peruvian identity and strengthen social bonds. However, globalization has brought those communities closer to the outside world that Afro-Peruvians started to market their songs to non Afro-Peruvian audiences. Therefore, the music genres, including Festejo, are adapting to the changing environment.[2][3] Because of this change, the purpose of Festejo changed and many musicians are trying to use it as a way for economic prosperity rather than its traditional role in those communities.
^León, Javier F. (2006). "Mass Culture, Commodification, and the Consolidation of the Afro-Peruvian 'Festejo'". Black Music Research Journal. 26 (2): 213–247. JSTOR 25433774. ProQuest 230478186.
^Burdick, J., & Dixon, K. (2012). Comparative Perspectives on Afro-Latin America. University Press of Florida.[page needed]
^León, Javier F. (2007). "The 'Danza de las Cañas': Music, Theatre and Afroperuvian Modernity". Ethnomusicology Forum. 16 (1): 127–155. doi:10.1080/17411910701276617. JSTOR 20184579. S2CID 144345178.
Further readingedit
Heidi Carolyn Feldman (2006). Black Rhythms of Peru: Reviving African Musical Heritage in the Black Pacific. Wesleyan University Press. p. 159. ISBN978-0-8195-6814-4.
January 01, 1970
festejo, this, article, includes, list, general, references, lacks, sufficient, corresponding, inline, citations, please, help, improve, this, article, introducing, more, precise, citations, march, 2021, learn, when, remove, this, message, from, spanish, fiest. This article includes a list of general references but it lacks sufficient corresponding inline citations Please help to improve this article by introducing more precise citations March 2021 Learn how and when to remove this message Festejo from Spanish fiesta is a festive form of Afro Peruvian music The dance is a staple in the Black coastal populations and it celebrates the emancipation of slaves Festejo is recognized for its high energy and the improvisation carried out by the dancers Some believe that its origins trace back to competitive dance circles performed by individuals playing cajons Despite its African origins people of all different backgrounds participate in the dance that many regards as one of the greatest representations of Peruvian culture It is currently performed in its most traditional form in San Luis de Canete and El Carmen District Chincha Chincha Contents 1 History 2 Globalization 3 Music 4 References 5 Further readingHistory editThere are theories that describe the Festejo as a dance that began in Lima in the mid 17th century but they do not provide evidence to support these hypotheses No musical example has yet been established to show that this musical form existed before 1800 However some Festejos dating from the 19th century have been identified Since the middle of the 20th century old Festejos have been collected from the areas of Lima Aucallama Canete and Chincha According to musicologist William Tompkins by the early 1900s the original choreography was almost completely lost It is from 1949 that a standard choreography for the Festejo begins to be generated in the Peruvian Folk Music and Dance School today the Jose Maria Arguedas National Higher School of Folklore It is from 1960 that this dance becomes the most widespread musical genre among Afro Peruvian artists In large part due to the popularity of the musical works by Jose Durand Victoria Santa Cruz and Nicomedes Santa Cruz In 1971 the Black Art Festival of Canete began which for the first time included a contest where the best dancer is elected Miss Festejo Between 1975 and 1977 a composition contest for Festejo and similar genres was included It is in this decade that a new style of Festejo is popularized for women that some musicians call valentina style for which they dress in colorful skirts and bras Globalization editDue to the advent of globalization many Afro Peruvian music genres especially Festejo have been experiencing influences from other cultures and genres of music 1 Afro Peruvian music was performed only in Afro Peruvian communities to help create and maintain Afro Peruvian identity and strengthen social bonds However globalization has brought those communities closer to the outside world that Afro Peruvians started to market their songs to non Afro Peruvian audiences Therefore the music genres including Festejo are adapting to the changing environment 2 3 Because of this change the purpose of Festejo changed and many musicians are trying to use it as a way for economic prosperity rather than its traditional role in those communities Music editThe base of every festejo is rhythm achieved through a series of melodies with the Peruvian cajon quijada de burro cajita conga and bongo References edit Leon Javier F 2006 Mass Culture Commodification and the Consolidation of the Afro Peruvian Festejo Black Music Research Journal 26 2 213 247 JSTOR 25433774 ProQuest 230478186 Burdick J amp Dixon K 2012 Comparative Perspectives on Afro Latin America University Press of Florida page needed Leon Javier F 2007 The Danza de las Canas Music Theatre and Afroperuvian Modernity Ethnomusicology Forum 16 1 127 155 doi 10 1080 17411910701276617 JSTOR 20184579 S2CID 144345178 Further reading editHeidi Carolyn Feldman 2006 Black Rhythms of Peru Reviving African Musical Heritage in the Black Pacific Wesleyan University Press p 159 ISBN 978 0 8195 6814 4 Retrieved from https en wikipedia org w index php title Festejo amp oldid 1218790743, wikipedia, wiki, book, books, library,
