Repertoire
PERU
Szene der “Virgenes del sol” (Sonnenjungfrauen), die dem Inka, Sohn des Sonnengottes huldigen. Frei interpretiert, mit zeitgenössischem Einfluss
Der “Señor de Sipán” war ein mächtiger Herrscher der Moche- Kultur (400 n.Ch.) im Norden Perus.
Er lebt nun hier wieder auf, in seiner ganzen Parcht und in Begleitung eines Priesters und zweier Dienerinnen.
KÜSTE
Ein afroperuanischer Rhythmus, der auf sehr sinnliche Weise den Wettbewerb zwischen den Männern und den Frauen ausdrückt. Man versucht sich gegenseitig mit einer Kerze ein hinten angebrachtes Papiertuch zu verbrennen, was nur durch sehr schnelle Hüftbewegungen verhindert werden kann.
Rhythmus und Tanz der schwarzen Bevölkerung Perus. Einst von Sklaven ins Leben gerufen, ist der Festejo ein Beispiel für die Mischung von afrikanischen, europäischen und kreolischen Elementen.
Charakteristisch sind die freien, sinnlichen Bewegungen, die einfach aus purer Freude am Tanz entstanden sind.
Der Landó ist das Resultat der Fusion von peruanischen Elementen mit dem aus Angola stammenden Lundú. In diesem Fall rekonstruiert der Samba Malató choreographisch die Ausführung der Hausarbeiten schwarzer Wäscherinnen.
Ruperta (Landó)
Das Stück „Ruperta“ ist eine choreographische Umsetzung der Geschichte einer jungen Frau, der ihre Unentschlossenheit in der Liebe zu Verhängnis wird, da sich die Männer von ihr abwenden.
Dieser Tanz entsteht in Lima an den Feierlichkeiten zu Corpus Christi, wird dann jedoch vor allem am Karneval getanzt. Zu dieser Zeit herrscht Narrenfreiheit, so dass man sich sogar über den Teufel lustig machen kann, so stellt der Tanz denn auch Teufelchen dar, die ihrem Anführer nachmarschieren.
Teil der Choreographie sind auch Schritte, die an den Stepptanz erinnern. Begleitet wird der Tanz von Gitarre und Rhythmusinstrumenten wie einer Holzschachtel und einem Eselsgebiss.
Der Wiener Walzer kam von den Europäischen Tanz- Sälen in die Salons der limenischen Aristokratie, wo er begeistert aufgenommen wurde. Innerhalb kurzer Zeit wurde er auch vom einfachen urbanen Volk aufgenommen, wo er verändert und so „peruanisiert“ wurde.
Die Marinera ist der getanzte Flirt eines Paares, der in jeder Region Perus ein bisschen anders aussieht. In diesem Fall aus Lima, ist die Marinera ruhig und elegant, wobei wie überall ein weisses Taschentuch als romantische Sprache benützt wird.
Die Marinera aus dem Norden Perus ist die bekannteste und beliebteste. Es wird das romantische Werben eines Mannes um eine Frau ausgedrückt, wobei die kokette Handlung damit endet, dass der Mann der Frau zu Füssen ist. Diese Botschaft wird mit grosser Virtuosität während des ganzen Tanzes gelebt, mit Hilfe der körperlichen Ausdruckskraft, der Taschentücher, der Rockbewegungen der Frau und durch den Hut des Mannes. Die Marinera ist der peruanische Nationaltanz.
Einer der traditionellsten Tänze der Nordküste von Peru, der bis heute in seiner ursprünglichen Form bewahrt wird. Dabei imitieren die Tänzer den Paarungstanz von Vögeln, wobei die gewisse Sinnlichkeit auf die afroperuanischen Wurzeln des Tondero zurückgeht.
Die Zamacueca, früher auch bekannt als “Mozamala” ist ein sehr alter Tanz-und Musikstil der Küste Perus und ist Vorgänger der Cueca, aus Chile, der Zamba aus Argentinien und der Marinera aus Peru.
Viele Theorien verbinden die Zamacueca mit einem alten afrikanischen Fruchtbarkeitstanz, dem Lundu aus Angola, der durch die Sklaven auf den amerikanischen Kontinent gelangte.
Gewisse Schritte und Bewegungen erinnern an den „Vacunao“ aus der afrokubanischen Rumba.
Es ist ein Tanz, der Paarweise getanzt wird und bei dem der Mann versucht, an die Frau heranzukommen um sie zu verführen. Sie provoziert ihn und serviert ihn gleich wieder ab. Dabei spielt der Gebrauch von grossen Stofftaschentüchern eine zentrale Rolle.
Der Toro Mata (übersetzt: „der Stier tötet“) Ist ein Musik-und Tanzstück afroperuanischen Ursprungs, das zur Art des Landó gehört, und in Peru sehr weit verbreitet ist.
Die Botschaft dieses Stücks ist sehr politisch, beim Tanz werden sowohl mit den Kostümen, als auch mit den Bewegungen die europäischen Eroberer und ihre Tänze parodiert, es handelt sich also um eine Art Protest der schwarzen Bevölkerung.
SIERRA
Es handelt sich um einen sehr bekannten und weit verbreiteten Tanz aus der Andenregion Zentralperus. Er wird an Festen getanzt und hat bäuerlichen Charakter. So werden Bewegungen der Aussaat und der Ernte getanzt, was in den typischen Stampfbewegungen des Huaylarsh sichtbar wird. Getanzt wird er von jungen Leuten beider Geschlechter, wobei der Mann versucht, seine Tanzpartnerin zu beeindrucken.
Das Wort „Valicha“ ist das Diminutiv des Namens Valeria. Valeria war einen wunderschöne junge Frau aus Cusco, die einen Musiker inspirierte, ihr zu Ehren diesen Huayno zu komponieren. Dank der typischen Choreographie, der schönen Musik und der beeindruckenden Kostüme ist die Valicha als Tanz auf der ganzen Welt zum Symbol, nicht nur für Cusco, sondern für die ganze peruanische Kultur geworden.
Tanz aus dem Distrikt Arapa in Puno. Wie alle Karnevalstänze dieser Region drückt sich hier die Lebensfreude der jungen Hirten aus, die ihren Tanz mit weissen Fahnen verzieren, als Symbol für den Frieden und die Liebe.
Der Witite ist ein sehr spezieller Ausdruck der Kultur des Colca-Tals bei Arequipa
Dieser Tanz, bei dem die männliche Figur, “Witite” genannt die Hauptrolle spielt, ist eine historische Erinnerung an die Eroberung dieser Gegend durch die Inkas.
Der Legende nach wollte der junge Herrscher aus Cusco die Tochter eines lokalen Häuptlings heiraten.
Um jedoch an diese noblen Damen heranzukommen, mussten er und seine Gefolgsmänner sich als Frauen verkleiden, und auf diesem Weg versuchen, die Frauen zu erobern.
Carnaval de Arequipa
Der erste Karneval, der in der Stadt Arequipa stattfand, muss im Februar, März oder April 1541 stattgefunden haben, und so entwickelte die Gesellschaft von Arequipa dieses heidnische Fest und machte es nach und nach zu einem beliebten Karneval.
Der Tanz Montonero Arequipeño ist auch als Marinera Arequipeña bekannt, ein Tanz, der auf die Aufstände von 1867 und 1895 zurückgeht, als die Bauern von Arequipa ihre landwirtschaftlichen Geräte gegen Gewehre tauschten und in den Kampf zogen, Sie wurden von alleinstehenden Frauen begleitet, die zur Unterstützung der Montoneros in den Kampf zogen. Nach dem Krieg feierten sie ihre Triumphe mit Tänzen und einer davon war dieser berühmte Tanz “El Montonero”.
Das Hauptthema dieses Tanzes ist die Verliebtheit zwischen den jungen Leuten der Gemeinde. Während der Karnevalsfeierlichkeiten gehen Frauen und Männer in ihren besten Kostümen auf die Plätze und folgen inmitten eines großen Tumults dem Rhythmus der Musik der Bandurrias und Charangos, die Volkslieder interpretieren. Die Frauen benutzen ihre “warakas”, um ihre Liebhaber in einer unausgesprochenen Liebeserklärung zu “bestrafen”. Die Männer tun dies durch ihre Lieder.
AMAZONASGEBIET
Dabei handelt es sich nicht um einen vorgeschrieben Tanz, sondern eher um eine Allegorie der Yahua- Indianer in ihrer traditionellen Bekleidung. Die Frauen verkörpern die Sinnlichkeit und die Freude, die Männer die Kraft und Geschicklichkeit der Yahuas.
KOLUMBIEN
Cumbia
The word Cumbia is of African origin and literally means “to celebrate”. In terms of choreography, the Cumbia is a dance of seduction whereby the women use burning candles to drive out pushy men. Cumbia music and the corresponding dance represent the cultural identity of many Colombians.
San Juanero
This is a very traditional and romantic dance from the region around Tolima and Huila. The couple celebrates being in love. The San Juanero is a mix out of popular rhythms as Bambuco and Joropo and is mainly performed during ceremonies that take place in honour of saints such as San Juan and San Pedro. For this occasion, women usually wear costumes of the Reinas del San Juanero (the San Juanero Queens).
Garabato
This dance highlights the contrast between life and death in a theatrical way, which is characteristic for carnival dances. The dancers illustrate the people’s fight against death.
The word Garabato derives from a hooked wooden stick that is decorated with ribbons and carried by the dancers.
Mapalé
The Mapalé is an Afro-Caribbean dance, characterised by fast, sensual and strong movements. It is also said to be a dance of frenzy; some even say it is about some kind of witchcraft that, through the drum beats, leads the dancers to loose control and fall in trance, a trance of wild and uncontrollable passion.
Joropo
Der Joropo ist eine traditionelle Musik- und Tanzform, mit der sich die Menschen in der Tiefebene identifizieren.
Seine Ursprünge gehen auf die Mitte des 17. Jahrhunderts zurück, als die Bauern es vorzogen, den Begriff “Joropo” anstelle von “Fandango” zu verwenden, um auf Feste und gesellschaftliche und familiäre Zusammenkünfte hinzuweisen. Fandango ist ein Begriff spanischen Ursprungs, der eines der beliebtesten Flamenco-Lieder und -Tänze bezeichnet.
Der Joropo scheint vom Fandango den Sinn einer Fiesta oder eines Tanzes übernommen zu haben… indem er das amouröse Werben des Fandangos aufgab und das Händchenhalten und die Drehungen des Walzers übernahm…. Auf diese Weise ist er bis heute erhalten geblieben.
VENEZUELA
Joropo
The joropo is a traditional form of music and dance that fully identifies the llanero people.
Its origins date back to the mid 1700’s when the llanero peasants preferred to use the term “joropo” instead of “fandango” to refer to parties and social and family gatherings. Fandango is a term of Spanish origin, which identifies one of the most popular flamenco songs and dances. The joropo seems to have taken from the fandango the sense of the party or dance… abandoning the amorous courtship typical of the fandango and adopting the hand-holding and the turns of the waltz… This way it is conserved until now.
Tambores Urbanos
The recognized dance has an origin that goes back many years ago. The Venezuelan drum is an artistic expression that African slaves established along the coasts of the country celebrated. All of them were brought by the Spanish colonizers.
Certainly, the Venezuelan drum is part of its identity. It is an artistic language that is connected to a historical past that to this day is widely practiced by Venezuelans.
ECUADOR
Sanjuanito (region Otavalo)
This is a very traditional Ecuadorian music style and has its roots in the indigenous and Mestizo culture of the province Imbabura. One of many stories about the dance’s name, assures that it was performed mainly during the ceremony in honour of San Juan Bautista (John the Baptist), which the Spanish celebrated on June 24. This happens to be the same date of the Inti Raymi celebrations that had been taking place long before the Europeans arrived. The Sanjuanito represents solidarity, identity and the relationship to mother earth for the indigenous population, whereas it is rather an expression of joy and national identity for the Mestizos.
Sanjuanito (region Zuleta)
This is a very traditional Ecuadorian music style and has its roots in the indigenous and Mestizo culture of the province Imbabura.
One of many stories about the dance’s name, assures that it was performed mainly during the ceremony in honour of San Juan Bautista (John the Baptist), which the Spanish celebrated on June 24. This happens to be the same date of the Inti Raymi celebrations that had been taking place long before the Europeans arrived.
The Sanjuanito represents solidarity, identity and the relationship to mother earth for the indigenous population, whereas it is rather an expression of joy and national identity for the Mestizos.
La Caderona
La Caderona (“the one with the big hips”) is an Afro-Ecuadorian rhythm and dance from the Esmeraldas region and was most likely inspired by African fertility rites.
The dance portrays a passionate love story about a beautiful black woman with big hips who drives the men crazy with her sensuality so that they would be even willing to leave their wives.
CHILE
Cueca
The Cueca is the Chilean national dance and therefore is the most important one in every traditional Creole celebration. The man’s posture and enthusiasm remind one of the rooster’s courtship dance. The woman, however, acts in a rather elegant and restrained way.
Destreza huasa
Destreza huasa, which is one of the choreographic variants of the cueca, where the man and the woman demonstrate all their skills and abilities of this Chilean dance.
Vals Chilote
This Chilean waltz, originating from the Chiloé island, clearly shows the European influence. The dance tells the romantic story of a young man who wanted to build a boat to get to the other side of the river, where his beloved girlfriend lived. A tornado had destroyed the bridge so they weren’t able to visit each other anymore.
Rapa Nui (Easter Island)
We have a wide repertoire of different Rapa Nui themes and dances, both ancient and traditional as well as contemporary.
MEXIKO
Jalisco: Jarabe Tapatío
The Jarabe Tapatío is the most representative song from the Jalisco region. This is also the place of origin of the charros, the chinas and the mariachi that have become symbols of Mexican culture throughout the world.
Jalisco: La Negra
The Jalisco region is known for its jarabes and sones, which are popular and spontaneous melodies that people sing and dance to. Those melodies are the result of a fusion of Spanish and Indigenous music styles.
El Son de la Negra is a traditional song from south Jalisco and has become one of Mexico’s most popular melodies. What many people don’t know is that the lyrics are about a locomotive.
Jalisco: Danza de los Machetes
Another typical dance from the Jalisco region is the dance with the machetes. The men demonstrate their abilities with those big knives, which serve as weapons and as practical tools for their daily work too.
Having its origins in the Mestizo culture, this dance shows the contrast between the men’s strength and wildness and the women’s elegance and grace.
Veracruz: La Bamba
The Son Jarocho developed from a fusion of the Spanish seguidillas and fandangos and the Cuban zapateos (tap steps) and guajiros.
The melody is played by a harp that enhances the piece with harmony and a touch of son music. The most known version is La Bamba, also known as the hymn of Veracruz. It is just as representative for Mexican culture and music as the Jarabe Tapatío.
The dance represents a couple who, using their feet, tie a ribbon into a bow while they dance.
Veracruz: La Bruja
“La Bruja” is a Son Jarocho, one of the best known of Veracruz.
It is one of many legends, which is perhaps the Mexican equivalent of the Dracula of Romania. It is a sinister creature, in the form of a woman, who needs to suck blood. La Bruja is frightening, but at the same time plays with a masochistic erotic fantasy, the lines between these two aspects become blurred, which reflects well the double standard so typical of that region.
So La Bruja comes to represent a spinster woman who goes out in search of men, to trap them and make them hers.
Chihuahua: Polka
The roots of this Polka from north Mexico clearly lead back to the European Polka. Nevertheless, it is obvious that this is a highly “mexicanised” interpretation of Polka.
BOLIVIEN
Caporales
The roots of the Caporales dance go back to the Saya, an Afro-Bolivian rhythm from the region of the Yungas and in the Tundiques, where the indigenous Aymaras imitated the Saya. In the course of this, the so-called Caporales, who were colonial foremen, appeared and became the basic element for this popular dance. Due to the dance’s young age, it is open to changes and different interpretations. As en example, the costumes are continuously modernized and tend to follow fashion trends.
Tobas
This dance has developed from war dances of the indigenous population from the region called Gran Chaco, which is the homeland of the ethnic community Tobas. They were known for their fearlessness in war. The dance appeared for the first time in the 20th century at the carnival of Oruro and rapidly became very popular.
Caporales-Machas
The well-known dance of Los Caporales, performed by women who have appropriated the costumes, movements and name of the male character (Macho Caporal). Given the gender structure established in the Caporales – represented by the couple Macho Caporal and Cholita (female character) – the appearance of the new role of the Macha Caporal in the dance has led to a social questioning of the identity of the women who dance as Machas Caporales. This questioning triggered a whole movement of female empowerment and solidarity, as well as that of the LGBTQ community.
Cueca Tarijeña
While it is true that the Cueca is the national dance of Chile, it is danced in other regions of South America as well, acquiring the characteristics of each place. The main message is still the love of a couple, the courtship through dance. The Cueca Tarijeña has been consolidating between the years 1930 – 1938, also known as Cueca Chapaca, is cheerful, fast and the first to use the violin, giving it a peculiar and unique sound.
La Chovena
The Chovena is a typical dance of the departments of Santa Cruz, Beni and Pando, a region with tropical climate, which shines in the carnival festivities. It is a native musical genre belonging to the Guarani culture, with a long history dating back to pre-Columbian times. It had no lyrics, and violins were included to achieve a greater cadence and sonority.
Saya
The Saya is an Afro-Bolivian dance, born in Los Yungas of Bolivia, one of the places where African communities settled after the enslavement process. The music and dance as part of their life also traveled with them to these territories, maintaining a certain independence that promoted their distancing from the Aimaras and other populations. The music and dance of the Saya is not the same as that of the Caporales, although there is often confusion between these two dances, as the latter is a mestizo and urban dance inspired by the original Saya.
BRASILIEN
Samba
Originally, Samba was the collective name for several dance styles, introduced by slaves from the Congo, western Sudan and Angola into their new homeland, Brazil, in the 19th century.
Being one of the most significant expressions of Brazilian folk culture, Samba has turned into a symbol of national identity. The Samba de Roda from Bahia, declared heritage of humanity by UNESCO in 2005, formed the basis for the development of the Samba Carioca (from Rio de Janeiro).
Capoeira
Capoeira is an Afro-Brazilian cultural practice that combines fighting and dancing . It is assumed that it was an invention of the African settlers enslaved in Brazil in the 16th century, coming from Angola, Congo and Mozambique.
ARGENTINIEN
Chacarera
The Chacarera is a traditional rhythm and dance of Argentina, mainly from the province of Santiago del Estero, but danced throughout Argentina, and in southern Bolivia. It is a picaresque dance, with an agile rhythm and a very cheerful and festive character. It is a lively dance that, like most Argentine folk dances, is danced in couples. It is loose as the dancers do not touch each other.
Tango
Tango is a manifestation that emerged in the 19th century from the fusion of Afro-American, Creole and European immigration. The Argentine and Uruguayan tradition of tango, today known throughout the world, was born in the basin of the Rio de la Plata, among the popular classes of the cities of Buenos Aires and Montevideo.
ZENTRALAMERIKA
Costa Rica “Tambito”
Tambito is a musical, folkloric rhythm of Costa Rica. It is, along with the punto guanacasteco, one of the most recognizable musical genres of the folklore of this Central American country. Its name derives from the tambo, a type of ranch that was built on cattle ranches for the workers to sleep in. Its origin is unknown, although it is believed to be derived from the Spanish dance. Many of Costa Rica’s folk songs and dances are Tambitos.
Honduras “La Punta”
On the Caribbean coast of Honduras, there is a culture called “Garífuna”, descendants of Africans of Africans and Caribbean natives from the Arahaucos tribe. At their festivals, they dance to a rhythm typical of the region, called PUNTA, because everything is danced on tiptoe. Originally an expression to celebrate fertility, this dance is an dance is an integral part of Honduran folklore.
This rhythm gave rise to a piece of music that became a huge hit throughout Latin America at the end of the 80s, the “Sopa de Caracol”. The lyrics are a mixture of Spanish, English and the Garífuna language.
Panamá “El Gallo y la Gallina”
A kind of courtship dance in which the couple pretends to be the hen and the rooster by imitating the movements of these birds. This dance is characteristic of the Herrera province.
Nicaragua “Tululu”
It is a dance that is performed to close the Fiestas de Mayo. The celebration and dance of the Palo de Mayo in the South Atlantic Coast of Nicaragua, specifically in the city of Bluefields, has its origins from the time of the English colonization and the arrival of black slaves to the Caribbean Coast.
It is a rite in homage to the sowing to achieve a rich and abundant production, as well as to the fertility of the women of the community.
KUBA
Conga
The Conga is a popular Cuban dance of African origin that has a syncopated rhythm and is accompanied by drums. It serves as accompaniment for the carnival troupes and originated in the festivities carried out by the black slaves.
It is a danceable and singable genre, which highlights the joy, rhythm and flavor of Cuban music.
Salsa
Salsa is a musical genre that arises from the mixture of Latin rhythms as well known as chachachá, mambo and son, among others, with the use of American instruments and styles.
Although its roots are mainly from Cuba, salsa as a dance originated in the Spanish neighborhood of New York, the “Spanish Harlem”, where the main colony of Latin Americans settled in the city. From there it began to expand and make its way to other cities in and out of the United States.
DOMINIKANISCHE REPUBLIK
Merengue
Merengue is a Caribbean musical genre that originated in the mid-nineteenth century in the Dominican Republic and has transcended borders because although it is danced throughout the Americas, it is also popular in different parts of Europe. The cradle of Merengue is located in the north of the Dominican Republic and is considered an integral part of the national identity of the Dominican community.
Palo Dominicano
The palos or atabales are the most important folkloric and cultural manifestation of the Dominican Republic, because it is the only one that is celebrated in all the national geography. The palos or atabales are played and danced in all kinds of festive, religious and ceremonial manifestations. They are associated with Afro-Dominican brotherhoods, with roots in the Congo region of Central Africa, which were initially composed of men, but over time women began to enter them.
Bachata
Bachata is a dance music genre that was born in the Dominican Republic in the early 60’s, immediately after the end of the Trujillo dictatorship, who for more than 30 years maintained a strong censorship regime in the Dominican Republic.
The term Bachata referred to any party or gathering where popular music was played. In its beginnings it was socially considered rather marginal.