Bringing Afro-Peruvian beats to UCLA
By Jessica Rodgers
Feb. 4, 2004 9:00 p.m.
Even though drums were banned in colonial Peru, African slaves
living there refused to abandon the rhythms that were so integral
to their culture. They grabbed anything they could beat or shake,
transforming ordinary items like storage crates and chairs into
tools that would preserve their musical tradition.
This Sunday at Royce Hall, Angelinos will be able to see how
this historically rich musical form has evolved from its colonial
roots, when the celebrated Afro-Peruvian music group Perú
Negro comes to UCLA from South America.
The group was founded in 1969 by the late Ronaldo Campos de
Colina, and is comprised primarily of family members.
One of Perú Negro’s primary instruments, the
cajón, a box the musician straddles and strikes, developed
from a wooden crate. The cajón has become an essential part of
the lively Latin sound of Afro-Peruvian music. Perú Negro also
uses donkey jaws, boxes and other traditional instruments to form a
backbone percussive sound to which guitar melodies, singing, and
dancing are added.
“When people think of Peruvian music, they think of
Indians playing panpipes,” Perú Negro’s tour
manager and spokesperson, Juan Morillo said. “They are
surprised that there are black people (playing Peruvian music)
“¦ I hope that the audiences enjoy what they see and get a
little taste of what black culture is like in Peru.”
The subject of the music is related directly to the oppressive
environment in which the music originated, much in the same way as
slave spirituals developed in the United States. The themes are
those of enduring life and attempts to look beyond the brutality of
slavery.
With many sold-out and nearly sold-out shows on their current
tour, it is obvious the American public has welcomed the Peruvian
group with enthusiasm.
“I knew that people would be curious, but I didn’t
think they would respond the way that they did,” Morillo
said.
The concert shows how black Peru has changed from its colonial
days to current times. The music combines both the past and the
present by blending traditional music with contemporary
arrangements.
Perú Negro released a new CD, “Jolgorio,” in
January 2004, and the 35-year-old group has proven they are
mastering the ability to blend and come together as a group, an
accomplishment reflected in both recorded and live
performances.
“The level of music and energy is at a new height. It
started with families (passing on the tradition), but now people
can go to school and learn choreography and music, Morillo said.
“You can see the musical tradition, but it’s more
organized ““ the same goes (for) the choreography.”
The tradition isn’t Perú Negro’s only
inspiration.
“I like the purity of the involvement ““ these people
do it because they love it,” Morillo said. “There is
still an element of innocence.”
