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| {{Infobox dance | {{Infobox dance | ||
| |title = Son de los Diablos |
|title = Son de los Diablos | ||
| |image = Son de los diablos.jpg | |image = Son de los diablos.jpg | ||
| |imagesize = | |imagesize = | ||
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| }} | }} | ||
| The '''''Son de los Diablos''''' |
The '''''Son de los Diablos''''' is an ] dance that developed as a mixture between African, Spanish, and Native American rhythms. ] explains that, despite popular opinion, the ''Son de los Diablos'' has no links with African rituals or with the Andean ], but rather it has a very slight similarity with the '']s'' of ] (]).<ref name="Nicomedes2">{{es icon}}{{cite book |title=Obras Completas II. Investigación (1958-1991)|last=Santa Cruz|first=Nicomedes|authorlink= |coauthors= |year=2004|publisher=LibrosEnRed|location=|isbn=9781597540148|pages=51–53|pages=540 |url=http://books.google.com/books?id=Ysqz9XsfczYC&source=gbs_navlinks_s|accessdate=2009-09-27}}</ref> | ||
| == Name == | |||
| In English, the name directly translates as "Song of the Devils". | |||
| == History == | |||
| Developed during the ] with origins in ], the ''Son de los Diablos'' was assimilated by the black slaves living in the Spanish colony. After the ] in 1821, people of African descent lived in alleys near churches and plazas of ], where festivities were held. Before the celebrations, blacks joined the festivities by forming gangs that danced the Son de los Diablos. | Developed during the ] with origins in ], the ''Son de los Diablos'' was assimilated by the black slaves living in the Spanish colony. After the ] in 1821, people of African descent lived in alleys near churches and plazas of ], where festivities were held. Before the celebrations, blacks joined the festivities by forming gangs that danced the Son de los Diablos. | ||
| Much like the ''Diablada'', the ''Son de los Diablos'' was heavily influenced by the Spanish ] celebrations, it was predominantly practiced by an ethnic community (in this case the ] community), and it was banned from religious celebrations by the ] in 1817. Nonetheless, the dance would remain an important part of carnival celebrations in ] up until the early 20th century.<ref name="BlackRhythms">{{es icon}}{{cite book |title=Black rhythms of Peru: reviving African musical heritage in the Black Pacific|last=Feldman|first=Heidi Carolyn|authorlink= |coauthors= |year=2006|publisher=Wesleyan University Press|location=|isbn=9780819568144|pages=31–35|pages=306|url=http://books.google.com/books?id=IUeT3eoU7VUC&source=gbs_navlinks_s|accessdate=2009-10-03}}</ref> The dance would gain a revival in the 1950s when ] used ]'s depictions of the dance and the information provided by old ''Son de los Diablos'' dancers in order to once again bring the dance back to life.<ref name="BlackRhythms"/> | Much like the ''Diablada'', the ''Son de los Diablos'' was heavily influenced by the Spanish ] celebrations, it was predominantly practiced by an ethnic community (in this case the ] community), and it was banned from religious celebrations by the ] in 1817. Nonetheless, the dance would remain an important part of carnival celebrations in ] up until the early 20th century.<ref name="BlackRhythms">{{es icon}}{{cite book |title=Black rhythms of Peru: reviving African musical heritage in the Black Pacific|last=Feldman|first=Heidi Carolyn|authorlink= |coauthors= |year=2006|publisher=Wesleyan University Press|location=|isbn=9780819568144|pages=31–35|pages=306|url=http://books.google.com/books?id=IUeT3eoU7VUC&source=gbs_navlinks_s|accessdate=2009-10-03}}</ref> The dance would gain a revival in the 1950s when ] used ]'s depictions of the dance and the information provided by old ''Son de los Diablos'' dancers in order to once again bring the dance back to life.<ref name="BlackRhythms"/> | ||
| == Music == | |||
| A distinguishing factor of the ''Son de los Diablos'' is its usage of such instruments as the ], a small wooden box that opens and closes creating a distinctive sound, and the ], the jawbone of a horse, donkey, or mule, that when hit creates a raspy buzz.<ref name="BlackRhythms"/> | A distinguishing factor of the ''Son de los Diablos'' is its usage of such instruments as the ], a small wooden box that opens and closes creating a distinctive sound, and the ], the jawbone of a horse, donkey, or mule, that when hit creates a raspy buzz.<ref name="BlackRhythms"/> | ||
Revision as of 17:41, 20 July 2014
 | |
| Genre | Afro-Peruvian music |
|---|---|
| Inventor | José Durand Flórez |
The Son de los Diablos is an Afro-Peruvian dance that developed as a mixture between African, Spanish, and Native American rhythms. Nicomedes Santa Cruz explains that, despite popular opinion, the Son de los Diablos has no links with African rituals or with the Andean Morenada, but rather it has a very slight similarity with the Diabladas of Oruro (Bolivia).
Name
In English, the name directly translates as "Song of the Devils".
History
Developed during the Viceroyalty of Peru with origins in Spain, the Son de los Diablos was assimilated by the black slaves living in the Spanish colony. After the independence of Peru in 1821, people of African descent lived in alleys near churches and plazas of Lima, where festivities were held. Before the celebrations, blacks joined the festivities by forming gangs that danced the Son de los Diablos.
Much like the Diablada, the Son de los Diablos was heavily influenced by the Spanish Corpus Christi celebrations, it was predominantly practiced by an ethnic community (in this case the Afro-Peruvian community), and it was banned from religious celebrations by the Catholic Church in 1817. Nonetheless, the dance would remain an important part of carnival celebrations in Lima up until the early 20th century. The dance would gain a revival in the 1950s when Jose Durand used Pancho Fierro's depictions of the dance and the information provided by old Son de los Diablos dancers in order to once again bring the dance back to life.
Music
A distinguishing factor of the Son de los Diablos is its usage of such instruments as the Cajita, a small wooden box that opens and closes creating a distinctive sound, and the Quijada, the jawbone of a horse, donkey, or mule, that when hit creates a raspy buzz.
References
- Template:Es iconSanta Cruz, Nicomedes (2004). Obras Completas II. Investigación (1958-1991). LibrosEnRed. p. 540. ISBN 9781597540148. Retrieved 2009-09-27.
{{cite book}}: Cite has empty unknown parameter:|coauthors=(help) - ^ Template:Es iconFeldman, Heidi Carolyn (2006). Black rhythms of Peru: reviving African musical heritage in the Black Pacific. Wesleyan University Press. p. 306. ISBN 9780819568144. Retrieved 2009-10-03.
{{cite book}}: Cite has empty unknown parameter:|coauthors=(help)