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“Los Palos” The Folkloric Music of the Dominican Republic

Presenter By Wanda Vásquez García & Sócrates García

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We reside and work on the ancestral homeland and unjustly and illegally taken territory of the Ute, Puebloan, Cheyenne, Arapaho, Apache, Navajo, Lakota peoples, and other 48 tribal nations historical tied to this land AKA Colorado.

We are originally from Quisqueya, the land of the Tainos, “Noble People”, sadly they were extinct during the first years of European colonization.

In Colorado we support efforts that will force the government to include Native Governments when creating policy on how to best use Colorado River Water.

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she/her/hers

Escuela Bilingüe Pioneer |

General Music Educator

Lafayette, CO

he/him/his

University of Northern Colorado |

Director of Music Technology

Greeley, CO

Dr. Sócrates García

Wanda Vásquez García, M.M.

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A La Dolorita

by Yasser Tejeda (feat. Jonathan “Jblak” Troncoso

These types of songs are traditionally shared orally following a call and response form

Call: usually Improv.

Response: Ay Dolore e

E E A

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A La Dolorita

by Yasser Tejeda (feat. Jonathan “Jblak” Troncoso)

Form:

Ay Dolore e

Mi virgen Maria,

E E A

Ay mi Dolorita

Ay Dolore e

Llega con la cosa,

E E A

que a mi me da pena

Ay Dolore e

Una’ van de azúca’

E E A

y otra’ van de arena

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Mi virgen Maria, Ay mi Dolorita

Llega con la cosa, que a mi me da pena

Una’ van de azúca’ y otra’ van de arena

La dueña e’ la casa, que se puso lo’ diente’

Para saborear, su chivo caliente

Muchacha bonita, de pelo caramboleao

Tu tienes que ser mi novia, y tu hermano mi cuñao’

Camino a Villa Mella, se quemó un badén

Con los cuero’ adentro, y los chulos tambien

Tirame pa’rriba y dejame caer

Que cuando yo baje, te vuelvo a querer.

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Goals

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General understanding of the Dominican Folkloric Genre known as Palos
General Knowledge of the instrumentation and basic playing techniques of selected traditional instruments
Resources to expand general knowledge of the selected music explored in today’s section

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“Music is culture.

Music is people.

Culture is people.

Music connects us to people.”

Patricia Shehan Campbell

Author of Teaching Music Globally

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World Music Pedagogy

Dimensions Framework

By Patricia Shehan Campbell

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Dominican Republic

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Dominican Republic

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Dominican Republic

The island of Quisqueya, native name, is the second largest in the Caribbean.

1492 first European contact becoming the first colony in the “New World.”

The site to introduce enslaved Africans to the Americas.

In 1697, Spain recognized French dominion over the western third of the island, which became the independent state of Haiti in 1804.

In 1844, after victory in the Dominican War of Independence, we gained independence from Haitian occupation.

Juan Pablo Duarte

Francisco del Rosario Sánchez

Ramón Matías Mella

The island of Quisqueya, native name, is the second largest in the Caribbean.

First European contact was in 1492 during Columbus first voyage. The colony of Santo Domingo became the site of the first permanent European settlement in the Americas and the first seat of Spanish colonial rule in the New World. It would also become the site to introduce importations of enslaved Africans to the Americas. In 1697, Spain recognized French dominion over the western third of the island, which became the independent state of Haiti in 1804.

After more than three hundred years of Spanish rule, the Dominican people declared independence in November 1821. The leader of the independence movement, José Núñez de Cáceres, intended the Dominican nation to unite with the country of Gran Colombia, but the newly independent Dominicans were forcefully annexed by Haiti in February 1822. Independence came 22 years later in 1844, after victory in the Dominican War of Independence.

FOUNDING FATHERS: Duarte was the thinker of the movement, Mella was the general that led the fight along with Sánchez who also was a diplomat. Sanchéz was the last of the founding fathers to get recognition for his role. In part, because of racism and colorism that is still prevalent in our Dominican Society.

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Dominican Republic

Unlike Hamilton, that according to Burr was “dropped in the middle of a forgotten spot in the Caribbean by providence,” we are from an unforgettable spot in the Caribbean. The Dominican Republic is the home of the first settlement during European Colonization.

Our country is known for its natural beauty that feels like paradise, its food, its people, happy above all odds. They make you feel at home the moment you step foot off the plane.

We enjoy being in community, conversations, a good party. This spirit is reflected in our culture and our music.

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Music of the Dominican Rep.

Popular Music

Merengue

Típico
Combos
Pambiche
Merenhouse
Other styles

Bachata
Dembow (version of Reggaeton)

Folkloric (Roots) Music

Palos o Atabales
Mangulina
Salve
Sarandunga
Congos
Chenche
Criolla
Cocolos
Gagá
More

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Historical Background

The musical expression known as Palos is a folkloric oral tradition and a communal expression. The term “Palos” is a generic term used to refer to various Dominican folkloric expressions. The instrumentalists of the Atabales or Palos consider the instruments sacred and are typically baptized before being played for the first time. This tradition is celebrated throughout the year and is passed on orally.

The tradition of the Palos music is performed by members of the community to celebrate, religious and secular occasions.

Palo Music

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Maracas

Güira

Palos o Atabales

Panderos

Canoita

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P

A

L

O

D

A

N

C

E

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Salve

The Salve is an expression where women have a more prominent role. In this expression, in addition to singing and dancing, women play instruments such as the Panderos and the Balsié. The Palos and the Salve go hand in hand in a symbiotic relationship. A unifying element of the two styles is the use of call and response (canto responsorial), which is a part of the African heritage.

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Afro-Dominican Drumming

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The Brotherhood of Congos of Villa Mella is a Confraternity of the Holy Spirit founded in the sixteenth century by enslaved Africans, mulatos and mestizos.
Legend
Instruments (Congo mayor, Congo menor or Conguito, Canoita and Maraca)
The Canoíta is part of our Native Taino legacy.
Congo, the name, also makes reference to hailing from the Congo region of the African continent.
In 2001 UNESCO is recognized as a Masterpiece of the Oral and Intangible Heritage of Humanity
In 2008 becomes part of the Representative List of the Intangible Cultural Heritage of Humanity.

Congos de Villa Mella

Wanda

The Congos of Villa Mella is a Confraternity of the Holy Spirit founded in the sixteenth century by enslaved Africans Mulatos, and mestizos. This brotherhood is one of the most important and unique socio-cultural traditional expressions of the Dominican Republic.

According to Fradique, Lizardo, folklorist, ethnomusicologist, researcher and preserver of our traditions and several informants of the community of Villa Mella, the legend of the Brotherhood of the Congos of the Holy Spirit says that some people who were looking for a place to settle, were met by the Holy Spirit lying on a Copey tree trunk, He had a white dove in his hand in an attitude of flying and at his feet were several musical instruments (congo mayor, congo menor or conguito, canoita and a maraca). The Holy Spirit indicated that with these instruments they would play in His honor and He Himself taught the dance steps. He also ordained that the brothers of this society could play and dance during funerals and other religious feasts offered to Him, provided He was present.

Congo, the name, also makes reference to hailing from the Congo region in the West and Central African continent.

In 2001 UNESCO recognized the Confraternity of the Congos of the Holy Spirit as a Masterpiece of the Oral and Intangible Heritage of Humanity and in 2008, due to a new convention held by UNESCO, the cultural space of the Brotherhood of the Holy Spirit of the Congos of Villa Mella becomes part of the Representative List of the Intangible Cultural Heritage of Humanity.

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Congo Instruments

Enrique Minier (Captain of the Confraternity of the Congos of the Holy Spirit of Villa Mella)

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Call:

Yo soy Ogún Balenyó

Y vengo de Los Olivos

a darle la mano al enfermo

y a levantar los caídos.

Response:

Yo soy Ogún Balenyó

Y vengo de Los Olivos

a darle la mano al enfermo

y a levantar los caídos.

Congos

Ogun Balenyó

Ay yo soy Ogún

Balenyó

Y vengo de allá

Balenyó

Ay Papá Candelo

Ay Papá Legbá

Anaísa Pie

Ay Belié Belcán

Ay la División

Ay Papá Guedé

Ay Candelina

Ay Belié Belcán

Ay yo soy Ogún

Y yo soy de allá

Ay yo soy Ogún

Y yo soy allá

Yo soy Ogún Balenyó

y vengo de Los Olivos

a darle la mano al enfermo

y a levantar los caídos

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Ogun Balenyo

Enerolisa Núñez leader of the Salve Group Mata Los Indios

Ogun is one of the Orisha deities of the Yoruba and Edo religion. Ogun Balenyo, the Loa of warriors and soldiers. His feast day is July 25.

He is known as a warrior, blacksmith and a healer. El abre caminos con su machete.

https://topmitologias.com/c-yoruba/oggun/

The Yoruba people named, identified and deified the energies of nature and called them Orishas. In Dominican Santeria Ogun syncretizes with Santiago el Mayor (St. James). This sincretism was the way many cultures had to preserve their ancestral traditions.

Ogun is the Orisha of blacksmiths, wars, technology, surgeons, army, policemen and also has an irascible and violent character towards its enemies. Its main symbol is the machete Embelebobo, with which it fights against its rivals or to be able to make its way through the vegetation of the jungle.

https://topmitologias.com/c-yoruba/oggun/

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Why Palos?

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From Across The Street

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Palo Mayor

Alcahuete

Balsié

Güira

Canoita

Pandero

Maracas

All

Together

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Just some ideas to aid the learning process

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Del otro lado de la calle

Del otro lao’ de la calle

yo puedo oír

Del otro lao’ de la calle

yo puedo sentir

Como suenan lo’ tambore’

Como suenan to’ lo’ cuero’

Como suenan toa’ la voce’

Como suenan lo’ pandero’

Como suenan

From Across The Street

From across the street

I can hear

From across the street

I can feel

The way the drums sound

The way the skin sound

The way the voices sound

The way the panderos sound

The way they all sound

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Appreciate don’t Appropriate

Wanda Vásquez García

Kelsey Gamza

Elaine Bennington

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Check your musical bias

Have you checked past programs and asked yourself the following questions:

Do you over-represent specific composers?
Do you favor a specific music style, genre, religious or cultural perspective?
Do you avoid a specific music style, genre, religious or cultural perspective?

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Look for primary sources

Is (are) the original composer(s)/arranger(s) native to or have a deep and authentic connection to the culture?
Did you consult an original version of the tune that inspired the arrangement?
Did you show the original version to your singers even if the performers don’t have the “choral” sound you might be accustomed to?
Is the example presented to your students an original version or done by a representative of the culture?

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Seek help within your community and the community that owns the culture

Did you invite (virtually or physically) cultural bearers to share about their culture to your singers?
Did you compensate them for their time?
Did you check with your students if their relatives or themselves can aid this process?

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Choose publishers that feature composers from equity seeking groups

Does the publisher feature composers/arrangers from equity-seeking groups throughout their website?
Does the publisher avoid tokenism and over-represent the same group of known composers/arrangers from equity seeking groups?
Is the publisher’s “multicultural” section mostly filled with white arranger’s versions of non-white songs?
Is the publisher actively marketing minstrel songs or otherwise problematic works?

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Commission music

Did you, when possible, commission music from equity-seeking groups?
Did you, when possible, invite composers from equity-seeking groups to collaborate with your groups?
Did you provide fair financial compensation for the composer(s)/arranger(s)?

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Travel with your group(s) (physically or virtually)

Did you take your group(s) to experience the culture or cultural topic depicted in the music?
Did you provide opportunities for your students to make meaningful connections to the culture or cultural event through a culturally responsive and culturally relevant lens?

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Be true to the song

Did you teach the song the way that is intended culturally?

---Keep in mind some songs are part of oral traditions and intended to be shared orally.

Did you have permission to share these songs?

---Many Indigenous songs have to be gifted to you in order to be perform

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Show your excitement

Did you introduce and rehearse the piece with enthusiasm?
Did you model respect for the represented culture and the song’s message?

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Step out of your comfort zone

Were you vulnerable with your students about your learning process?
Did you allow fear to prevent you from engaging and learning about new music and new culture?

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Educate your audience (program notes)

Did you provide adequate information to your audience through the concert notes about the works being performed?
Were your students part of the process of researching and writing the concert notes?

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What else should we consider?

Include Movement
Bring your audience into the experience invite them to sing along
Dress in the clothing that represents the culture whenever possible
Be open to hear feedback from your cultural bearers
Make connections to artists or styles that they listen to now
Involve students throughout the entire process

THANK YOU ALL FOR YOUR CONTRIBUTIONS!

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•“La Musica Folclórica Dominicana” by Josué Santana and Edis Sánchez

•“Dominican Suite for Jazz Orchestra.” A Doctoral Dissertation by Dr. Socrates Garcia

Resources

Listen to:

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wanda.vasquezgarcia@gmail.com

Culturally Responsive

Music Classroom

IG @wandavgteachmusic

www.socratesgarcia.com

socrates.garcia@unco.edu

IG @socgarciamusic

Dr. Sócrates García

Wanda Vásquez García, M.M.

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Questions?