Somos negros de la costa

Summary

This transcript centers around a musical workshop initiative in Santiago Yautepec, Oaxaca, aimed at preserving local music traditions while incorporating elements of the African Mande tradition. Children and youth learn to play instruments like the bajo quinto, violin, and cajón, blending regional music styles such as corridos and chilenas with African influences. The workshop fosters creativity, cultural exchange, and a sense of pride in their musical heritage. Participants share their experiences, discussing the learning process, overcoming challenges, and the impact of the program on their musical growth and identity.

Takeaways

• 🎶 The script features a music workshop initiative held in Santiago Yaitepec, focusing on children and youth from the Costa Chica region of Oaxaca.
• 🌍 The project, 'Somos Negros de la Costa,' promotes musical preservation and creativity by incorporating traditional music from both Mexican and Malian cultures.
• 🎻 The workshop reintroduced local instruments like the bajo quinto and violin, which were traditionally used for Chilena music but had fallen out of use.
• 🎤 The workshop teaches children to play their own local music, like merequetengue, corridos, and Chilenas, fostering a sense of cultural pride.
• 🌱 The project is centered around three main axes: preservation of local music, rescue of forgotten instruments, and artistic intervention through creative exploration.
• 🎵 Collaboration between Mexican and Malian musicians helped create a new, hybrid repertoire based on shared rhythmic patterns and traditions.
• 🎸 Children and young musicians learned both their local musical heritage and the techniques from the Malian tradition, forming a cross-cultural dialogue.
• 👏 Local community members and workshop participants express their enthusiasm, recognizing the deep-rooted musical talent of the Costa Chica population.
• 👧 Participants learned basic music skills like playing the guitar, improving coordination, and overcoming stage fright through practice and mentorship.
• 🌟 The initiative is praised for helping children and young musicians recognize their inherent musical abilities and giving them the confidence to believe in their talent.

Q & A

What is the primary purpose of the music workshop mentioned in the transcript?

The workshop aims to preserve, rescue, and create music, particularly focusing on traditional music from the Costa Chica region of Oaxaca, Mexico, and integrating influences from Malian music.

What musical traditions are emphasized in the workshop?

The workshop emphasizes local Costa Chica music traditions, including 'merequetengue,' 'corridos,' and 'chilenas,' while also incorporating elements from the Malian Mande tradition.

How does the workshop aim to preserve traditional music?

The workshop preserves traditional music by teaching children to play local music they are familiar with and reintroducing forgotten instruments such as the bajo quinto and violin, which were historically used to play chilenas.

What role does the musician from Mali play in the workshop?

The Malian musician participates by creating a dialogue between the Mande tradition and Costa Chica music, helping to blend rhythmic patterns and foster creativity.

What instruments were reintroduced in the workshop?

The workshop reintroduced instruments like the bajo quinto, violin, the tigrera, the botellón, and the cajón, which are significant to the local musical identity of the Costa Chica.

How did the children in the workshop benefit from the experience?

Children learned to play their traditional music, gained confidence, and were encouraged to embrace their identity as musicians. They also received hands-on training with various instruments and rhythms.

What challenges did the children face while learning music in the workshop?

Some children initially found it challenging to handle instruments like the guitar, with discomfort and pain in their hands. They also had to overcome stage fright and nervousness when performing.

What role did the teacher Pablo play in the workshop?

Pablo, one of the teachers, helped the children focus, keep rhythm, and develop their musical skills by gradually increasing the difficulty of the songs they learned.

What is the general attitude of the community toward the music workshop?

The community values the workshop, recognizing it as a way to nurture the musical talents that many believe the children and youth already possess, while also preserving their cultural heritage.

What is the significance of teaching local music to the children in the workshop?

Teaching local music connects the children with their cultural identity, helping them preserve their traditions while giving them confidence in their musical abilities.

Outlines

00:00

🎶 Workshop Announcement and Music Overview

This section announces a musical workshop organized by the town of Santiago Yaño Grande, highlighting its schedule and the involvement of renowned musicians, including a marimba performance. The project aims to foster creativity and community through music, with a focus on traditional African and Mexican sounds. It also mentions the collaboration with musicians from Mali and the use of African musical traditions to enhance local music.

05:01

🎵 Cultural Preservation and Musical Dialogue

This paragraph explores the workshop's efforts to preserve and revitalize local musical traditions. It focuses on teaching children traditional songs like corridos and chilenas, using instruments such as the bajo quinto and violin, which were once popular but had fallen out of use. The collaboration between African Mande traditions and the local Costa Chica music resulted in the creation of a unique, rhythmic dialogue that enriched the children's learning experience.

10:02

🎸 Empowering Youth Through Music

The third paragraph shares the experiences of young participants who benefited from the workshop. It highlights the natural musical talent within the community, especially among children and youth, and emphasizes how the workshop helped them recognize their abilities. The involvement of professional musicians gave them confidence in their musical identity, fostering their growth through learning various instruments and techniques.

15:04

🎻 Rhythmic Lessons and Community Tradition

This paragraph dives deeper into the hands-on musical instruction received by the children. The focus is on rhythm and mastering instruments such as the cajón and guitar. The participants reflect on their progress, particularly their learning of traditional Costa Chica rhythms that define their regional identity. The importance of overcoming stage fright and mastering performance techniques is also discussed.

20:09

🎤 Emotional Connection to Music

The final paragraph shifts to a personal reflection on the emotional power of music. The speaker expresses deep affection for traditional music and its role in the community, particularly during festivals and important cultural events. The emotional connection to instruments and the collective experience of music is highlighted, with references to specific songs and their impact on both the performers and the audience.

Keywords

💡Taller musical

The term 'taller musical' refers to a music workshop aimed at children and young people from the Costa Chica region of Oaxaca. It is part of a larger initiative to preserve local music traditions, such as 'merequetengue' and 'chilenas,' while introducing new musical elements like African instruments. The workshops provide a platform for young participants to engage with both local and international musical traditions.

💡Marimba Africana

The 'marimba africana' is a key instrument in the musical project mentioned in the transcript. Its inclusion signifies a blending of African musical traditions with those from the Costa Chica. This highlights the project's goal of cultural exchange and the preservation of African heritage within the region, fostering a dialogue between the traditions of Mali and Mexico.

💡Tradition Mande

'Tradition Mande' refers to the musical and cultural heritage from the Mande-speaking peoples of West Africa, particularly Mali. In the video, musicians from Mali collaborate with the local Mexican community to incorporate Mande rhythms and instruments into their musical practices, facilitating a cultural dialogue between African and Mexican traditions.

💡Preservation

The concept of 'preservation' is central to the project, focusing on maintaining and revitalizing traditional music and instruments from the Costa Chica region. This includes reviving lost instruments like the 'bajo quinto' and the violin, used in traditional chilenas, as well as teaching children to play local music they are already familiar with, thereby keeping these traditions alive.

💡Chilenas

Chilenas are a form of traditional music and dance from the Costa Chica region, which play a significant role in the workshop. The children are taught to perform these folk songs, blending them with Mande musical elements. Chilenas serve as a foundation for cultural expression, representing the local identity of the Afro-Mexican community.

💡Bajo quinto

The 'bajo quinto' is a traditional stringed instrument that was historically used in Costa Chica but had fallen out of regular use. As part of the preservation efforts, the instrument was reintroduced to the children, allowing them to learn and connect with their musical heritage. The instrument’s revival symbolizes the project’s broader mission to save fading traditions.

💡Intervention

'Intervention' in the context of the video refers to the artistic intervention in traditional music. It involves blending local and foreign elements, such as African rhythms and instruments, with local Mexican traditions. The goal is to foster creativity and innovation while maintaining respect for the cultural roots of both traditions.

💡Identity Negra

'Identity Negra' refers to the Afro-Mexican identity of the coastal communities involved in the music project. The workshop is designed to not only teach music but also strengthen the cultural and racial identity of these communities by emphasizing the unique aspects of their African heritage through musical expression.

💡Cajón

The 'cajón' is a percussion instrument traditionally used in Afro-Peruvian music, but it is also significant in Afro-Mexican music from the Costa Chica. In the workshop, the cajón is one of the instruments taught to the children as part of their cultural preservation efforts. Its use ties into the larger theme of maintaining African-derived musical traditions.

💡Creativity

Creativity is a key concept in the workshop, emphasizing the development of new forms of music through the combination of local and foreign traditions. The project encourages participants to not only preserve existing traditions but also to innovate by experimenting with new rhythms and compositions, thus pushing the boundaries of traditional music.

Highlights

Announcement of the musical workshop for children, youth, and adults organized by the honorable constitutional council of Santiago on October 8 and 10.

Collaboration between Mexican musicians and musicians from Mali to explore the connection between the Mande tradition and the musical traditions of the Costa Chica region of Oaxaca.

The project emphasizes the preservation, rescue, and creation of local music, with children learning traditional instruments and genres such as the 'merequetengue,' 'corridos,' and 'chilenas.'

Reintroduction of traditional instruments like the bajo quinto and violin, previously lost in the region, which were once used to perform the chilenas.

Use of traditional instruments in dances that reflect the Black identity of the Costa Chica, including the 'tigrera' and the 'botellón.'

Involvement of children in creating a musical repertoire using rhythmic patterns similar to both local and Mande traditions.

Testimonial about how the workshop helped children tap into their inherent musical abilities and develop confidence.

Children were taught to play the guitar, with specific emphasis on basic chords and rhythmic techniques.

The project encouraged children to learn about the history of traditional instruments and how they were developed in Costa Chica.

The workshops are designed to nurture the musical talents of children, emphasizing both local culture and global collaborations.

Introduction of rhythm-based learning techniques, encouraging children to gain control over their nervousness during performances.

Musical repertoire created as part of the workshop included rhythms that symbolize the identity of the Black community in Costa Chica.

Importance of learning to manage time and rhythm effectively during music sessions, as emphasized by the instructors.

Participants express a deeper connection to traditional music, and the desire to continue learning and contributing to their community's musical identity.

A closing statement reflecting how the workshop not only provided musical education but also strengthened cultural roots and pride among the youth of Costa Chica.

Transcripts

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hoy el negro de la costa

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no me vayan a matar

voy a matar

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en el agua

sin quererlo

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sí

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e

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y

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también

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a ella

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m

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permite

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ok amigos continuamos continuamos en la

programación habitual aquí el 91.5 te

informamos el honorable ayuntamiento

constitucional de santiago y en grande

le informa a todos los jóvenes niños y

adultos que participan en el taller

musical el día jueves 8 de octubre

octubre del presente de cuatro de la

tarde a ocho de la noche

y el día sábado 10 de octubre de 10 de

la mañana a 2 de la tarde en un lugar

que fue impartido el curso anterior ya

que contaremos con la presencia de la

marimba africana bal avon y personal

reconocido en el arte musical

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[Música]

en el proyecto a proméxico en medios y

redes creativity and community

en español le llamamos somos negros de

la costa es una iniciativa musical de

talleres de música dirigido a niños y

jóvenes de la costa chica de oaxaca

[Música]

en el pueblo de santiago ya no grande la

banda en la cual participaron en tres

talleres distintos el año 2015 al 2016 y

participaron músicos mexicanos

tradicionales y músicos de malí de la

tradición mante

[Música]

cuando surgió esta abeja de la cadena

británica que nos dio eso para colaborar

con él

cierto musicólogo de aquí que es sergio

te hice y con conmigo como parte de la

universidad de londres mi idea era como

explorar

y lana y aplicada dentro de la música

mexicana a través de los niños talleres

con niños

pero con la presencia de un músico

maliense es un proyecto que está basado

en tres ejes principales que son los

ejes de rescate de preservación y de la

creación musical o intervención

artística

digo de preservación porque se ha

trabajado con el repertorio local que

los niños conocen que son los

merequetengue que son los corridos que

son este en las chilenas y con este

repertorio se les enseñó a tocar

es su propia música lo cual pues

facilitó el proceso al mismo tiempo se

trabajó con el repertorio de la

tradición mante y se estableció en un

diálogo que se refiere precisamente al

otro eje que es el hereje de la

intervención de la creatividad en la

cual el diálogo es la tradición mande y

la tradición de la costa chica que fue

pues muy fértil no buscando

acompañamientos patrones rítmicos

semejantes que logramos con lo cual

logramos

montar un repertorio

mencioné también que es el eje del

rescate porque rescate porque utilizamos

instrumentos que ya se habían perdido en

la región pero que antes se tocaban como

es el bajo quinto y el violín no que

eran un dueto que se utilizaba mucho

para tocar las chilenas y se reintrodujo

estos instrumentos ni los niños

aprendieron a tocar los asimismo

utilizamos otros instrumentos que se

utilizan para algunas de las danzas

emblemáticas de la identidad negra de la

costa

como es la tigrera y el botellón que

utilizamos como instrumentos que hicimos

la charrasca aguantar hasta también el

cajón que que son del conjunto de artesa

entonces creo que fue una una

experiencia muy rica para para todos y

sobre todo para los niños

[Música]

ponemos hoy nativa

y ya te amaremos hoy en ammán

nativa a irún y malagueña nagualismo ya

está paremos a nadie

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a

2 2

y

i

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a debate

creo 17

de esto

tiene un mal

juntos

místico wista apliquen

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particular creo méxico

baraka

la música y el gris

[Aplausos]

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cuando hay fiestas y que llevan música

de viento me gusta me gusta ver los

bateristas los trompetistas todo tipo de

instrumento y también cuando son las

tradiciones del pueblo que se vestían

los días de muertos también me gusta

verte mostrando los instrumentos

por qué

y

si la fruta

[Música]

yo estoy muy contenta de este taller

porque viene a lo mejor a explotar lo

que en sí ya uno sabe que tienen

nuestros niños nuestros jóvenes siempre

decimos que la gente negra o la gente de

la costa trae la música o el ritmo por

dentro y a veces como que necesita lo

mejor un empujoncito una ayudadita de

alguien que sabe o que al menos ha

tenido más experiencia en el mundo de la

música y eso yo creo que fue eso no el

empujoncito el explotar lo que ya los

niños los jóvenes tienden el cómo

decirle sí es cierto eres músico y lo

traes y creé tela

[Música]

cómo

[Música]

nos enseñaban cómo tocar la guitarra

a mí no me enseñaron conjunto cambio en

línea pero si escuchaba percusiones

[Música]

cuándo

no era mucho

y así andar

la verdad si me pongo

[Música]

y cortes desde el primer año que estuve

ya me fui soltando un poco ya no me

consume totalmente

se habla de las cosas que aprendí van

asustarme a no dejar que los nervios de

escombros poniendo más nervioso yo

[Música]

y no olvida las cosas

y con el maestro pablo

es una señora

a concentrarnos a tener

el tiempo en la cabeza para los toques

[Música]

julián cada una

[Música]

ser maestro fue comenzando por lo básico

enseñando unos ritmos no tan difíciles y

así voy incrementando el grado de

dificultad hasta que comenzamos a tocar

canciones

y sigues y sigue practicando sus piernas

algo más

[Música]

pero con otras músicas así está bien

sirve

ah muy bien los acordes

qué aprendiste

la sol mayor mí

7

y

el sol mayor también y cómo se siente en

tus manos al principio un poco de dolor

porque como nunca lo había tocado y

después después un poco más

acostumbrando

aprender a tocar el bien ver el cajón

desde el bote

aprendíamos sobre el ritmo de canciones

relacionadas con la costa que son las

canciones por lo tradicional que nos

identifican a nosotros como costeña

puede aprender más de la música y de la

historia de cómo se fue creando los

instrumentos y por qué se hicieron

[Música]

es un trapo

la princesa a nadie

el valerosa nana

silencio el corazón

oaxaca o si leen su corazón

como sea

el polen

y otras pero ya no me acuerdo hayan gata

[Música]

después que viene nada nuevo para que

construya dos se pueden integrar y pues

así podemos aprender otro poco

[Música]

qué opinión tienes de ellos nunca está

más bien prefieren mucho jugar detallar

porque piensan que es aburrido pero a lo

contrario el taller es más bonito que

jugar

[Música]

andamos de mayores

colores

ya mucho más amor

[Música]

música de tradición

ha prometido a la nación

[Música]

[Aplausos]

música

[Aplausos]

[Música]

música de tradición

[Música]

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o

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grabados

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e

y

i

y

[Música]

ahora acabo de llegar que mi cantar

expósito ganas de llorar me dan de ver

lo que has tenido de ver lo que hace

2

le dije a mi corazón que suspira que no

llores que si tú ya no lo tienes no

faltará quien lo adore no faltará quien

lo adore

[Música]

en su corazón de la de llorar

en mi vida de tanto a más bien de mi

vida de tanto amor

[Música]

lleve mi la de amina mejor daña la vida

de la mina de la mina

[Música]

letras y la señora vivos

[Música]

mejoró la même y la cara

se empeña mí nada me perdona las becas y

la caricom

[Música]

hoy

[Música]

[Aplausos]

[Música]

sí

cerca

[Música]

[Música]

[Música]

[Música]