00:00Monami, vos polé caba macusa, lo que suto ten y lo kitan da vos, no, vos ten que que la
00:10cune etabli,
00:12y vos ten que sigi indale a mahanasi.
00:17Tata mia lunga, la catajena, elia belunga, la tiela jena.
00:27Tata mia lunga, la catajena, elia belunga, la tiela jena.
00:40Cuchama pelo, cuchama pelo, pelo pelo pelo, pelo pelo pelo, pelo pelo pelo,
00:49pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo
00:55pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo
00:57pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo
00:57pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo
00:57pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo
01:09pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo
01:09pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo
01:10pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo
01:10pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo
01:11pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo
01:11pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo pelo
01:12pelo pelo pelo
01:17Ae, ae, macaco mate el toro Macaco se vuelve a rocha en busca de su mujer
01:28Ae, ae, macaco mate el toro Adiós macaco mate el toro, caco mate el toro, caco mate el toro, caco
01:38mate el toro, macaco mate el toro
01:43Imaginate yo que llevo esto en la sangre, es que a veces cuando estoy tocando pasan cosas que yo no
01:52se ni como pasan
01:52Y eso pasa a través de lo que siento, ve, a través de lo que estoy sintiendo, eso pasa
02:17Esto es como uno liberarse, más la música es para liberarse el alma, para liberar el alma
02:23Porque a veces uno tiene momentos malos y cuando escucha música y se le pasa lo que hizo
02:28Yo me inspiro, me voy al campo, canto, siento una nueva energía, trabajo alegre
02:37De pronto no estoy pensando en algo, sino que estoy concentrado en algo virídico, que es la música
02:43De pronto yo me fajo a componer porque estoy concentrado
02:46Y la música para mí es una evidencia, una evidencia
02:49Porque la música a mí cuando uno está en esto, uno se siente con vida
03:17La música hace parte integral
03:21De la cosmovisión o del día a día palenquero
03:26El palenquero desde que nace hasta que muere
03:30Es música inmersa en su cotidianeidad, en sus quehaceres diarios
03:34Ella defía desde que no estoy pensando en algo
04:10If you are a palenquero of birth, you have to take the music inside.
04:16In Palenque, if a person dies, they are accompanied with the drums,
04:26they do rhythm with the drums.
04:29If there is a party in Palenque, they are accompanied with the drums.
04:32If there is information in Palenque, they are going to give news in the community,
04:38it is also done with the drums.
04:40For me, the importance of the drums here in our community is very important,
04:48because its importance comes from the death, the pain of the palenquero,
04:56it is part of the feeling.
04:59The drums has always been, as I said, a means of communication,
05:04the phone, the card here in our community.
05:07That's why the drums is so important, and it will always be important for this music provider.
05:15Let's go, let's show it!
05:16All your brothers, I saw what you've got here!
05:45Tata Mee
05:46because Tatami was a great doctor and botanical doctor.
05:52And when he went out to the mountain to get more plants,
05:56he was already going to be with a jankaburrito,
05:59because he respected Tatami a lot.
06:01And when he was going to get more plants,
06:03he would have to get more plants.
06:28The identity of Palenque,
06:31the cultural force of Palenque,
06:35is for what Palenque is.
06:37In its ritual,
06:39it is a very strong community,
06:42its own ritual that Palenque has.
06:44In its own language,
06:48it has its own language.
06:50It has its own language.
06:52It identifies in any place where we are.
06:56It identifies that Palenque.
06:58Every language,
06:59besides representing the cultural identity
07:04of a community,
07:06is also the first way
07:10of resistance
07:12resistance
07:12of oppressed communities.
07:15The case of Palenque
07:18of San Basilio.
07:19In that communication,
07:22the slaves were able to leave,
07:24they were able to liberate
07:26from the Spanish.
07:27anyol.
07:28African people suffer apart.
07:32African people suffer apart,
07:36apples.
07:38one of four asked goals
07:39one path to freedom.
07:45Fourth of Africa
07:49In the beginning, what happened was to resguard in the families all the cultural elements,
07:57because there was a mandate of conscience between white authorities,
08:06as I can call it as, external authorities,
08:08and it was to remove these communities with linguistic and cultural elements,
08:18and eliminate them,
08:21to make within a country,
08:26a, quote,
08:29a uniform community,
08:31knowing that that was impossible.
08:33Most people, when we were outside,
08:36we were outside,
08:39Cartagena,
08:41Barranquilla,
08:43we had to blame,
08:45because we, for pity,
08:49we left the language guard here,
08:52in the people,
08:53and it was already
08:55we didn't speak more language.
08:59So, when that happened,
09:02and how it was,
09:05castigated,
09:06even though,
09:07not only with burles,
09:08a lot of parents here,
09:10because they were arrested
09:12for practicing,
09:15many times,
09:16only speaking,
09:17or some spiritual element.
09:20So, to avoid that,
09:21what did the palanquilla was to guard the culture
09:24in the houses.
09:29We can't practice anything.
09:33We can't practice anything.
09:34Everything is inside,
09:35or everything is on the mountain road,
09:38or in the arroyo,
09:39where we could exalt and recreate the culture.
09:44It turns out that
09:46what of us was that,
09:47the language.
09:48We were leaving it,
09:50but now,
09:53thanks to our Lord,
09:55we recovered our language,
09:58we already spoke it,
10:00and as that is the one of us,
10:05we were learning the language.
10:09And now,
10:10we are learning the language,
10:10the same people who were looking for us,
10:13they now want to find the language.
10:16We saved a eat.
10:19They weren't going to eat but they just did a game but it didn't eat.
10:25They eat,
10:25the zoo in the house cintelligence and Rolle sounds over…
10:31the zoo in the mày-singer et al have a gap…
10:34However,
10:36they killed me..
10:38corrupted one day goal eating to eat ever…
10:41the zoo in ki-man marit-
10:46the head of the head.
10:50There was more or less in 1986 a movement very interesting
10:59to revitalize the culture
11:03and to say, to say, to the grandparents,
11:08to the parents,
11:08to offer us the heritage that for the right we correspond.
11:22They began to talk to us,
11:25to talk to us in Palenque
11:27and again to recreate the Lumbaroo,
11:30to recreate the Sexteto,
11:33to recreate the Alegres Ambulances.
11:35Adiós María, adiós, Campo Santo.
11:40Oh, elele, elele, Quilombo.
11:46Haga medio de los cielos,
11:50Santa Bárbara bendita y maniaque maquie.
11:55Oh, elele, elele, Quilombo.
12:02Oh, elele, quilombo...
12:04Allez, Californiaquency.
12:04Adiós, cimiterio, spend in there,
12:07caposanto thangana miel,
12:09maria diue.
12:11Ese es el baile muerto...
12:13Oh, elele, elele, Quilombo.
12:19Adiós, mijo, que te pasee?
12:23Maria, que quiere usted, smal form.
12:26Longo
12:30Bagate Dios de los cielos
12:34Sami to lo que
12:37Mamá mia pele malucue
12:41Sami to lo que
12:43Ye ye
12:44Ye ye
12:46Sami to lo que
12:48Mamá mia ve pa' casariambe
12:53Sami to lo que
12:55Mamá mia ve
12:56Cabecita
12:59Sami to lo que
13:01Ye ye
13:02Ye ye
13:04Sami to lo que
13:06Mamá mia ve pa' casariambe
13:10Sami to lo que
13:12Mamá mia ve
13:14Cabecita
13:17Sami to lo que
13:18Ye ye
13:20Ye ye
13:22Sami to lo que
13:25A través de la música
13:26Las alves
13:28Los cánticos
13:30Los cantos de vaquería
13:32Los lumbalúes
13:33Porque allí
13:35Y en los cuentos
13:36Allí
13:37Están los vestigios
13:39De nuestras historias
13:42Ahí donde logramos
13:43Determinar a través de la música
13:46De donde veníamos
13:48Yo he cogido a mis hijos
13:50Y yo la he puesto
13:51Con el tambor
13:52Porque mis hijos son
13:53Tengo tres varones
13:54Y los tres tocan
13:55Entonces yo los pongo a tocar
13:57Y yo le hago las voces
13:59Hoy Dios no lo quiera
14:01Ya mañana llego a fallecer
14:03Ya mis nietos
14:04Ya que eran con esa dinastía
14:07Para no dejar caer esa tradición
14:10Y por eso es que uno enseña
14:11A los nietos
14:12A los sobrinos
14:13Para que no se pierda
14:14Para mantenerla fijamente
14:16He compartido mucho con mi abuela
14:18Y eso ha hecho que yo
14:19Que eso se mantuviera más
14:22En mi corazón
14:24Y en mi sangre
14:25Por eso yo toco como ella
14:27Y canto como ella también
14:29Aparte de mi conocimiento
14:31Aparte de lo que yo llevo
14:33Por dentro
14:35Aparte de todo eso
14:36Que mis ancestros
14:37Me han dejado
14:38Como un batata
14:39Aquí en la comunidad palenquera
14:41Yo siento mucho amor
14:43Por la música
14:45Ya que eso fue lo que
14:46Mi abuela no me pudo dejar
14:49Ya mi abuela murió
14:50En el 2014
14:51Y eso fue lo que ella no pudo dejar
14:53Entonces yo como la amaba demasiado
14:55Y ahí voy a seguirle el camino a mi abuela
15:20Música
15:22Yes, you will Africa, no, no, no, Africa, yes, you will Africa, yes, you will Africa.
16:04I feel an obligation and a obligation
16:09to leave that legacy, that information to my future generations,
16:16because my stories always have to do with my songs,
16:20with some historical success.
16:23We can't let our culture lose,
16:26we have to continue,
16:30we have to continue
16:44just the importance of living
16:47the traditional, the own.
16:50It's okay, we can continue innovating,
16:53that's very good, but we have to keep the line.
16:57If you know where you come,
16:59you will know where you are.
17:01You can't lose the essence of your life.
17:04When you stop doing what has been in your blood,
17:11you lose your identity.
17:14When the palenque doesn't do it,
17:15or demonstrate or express your culture
17:19like the whole life has lived,
17:20like the inheritance that gave us our ancestors,
17:24palenque,
17:25any community,
17:28any normal people,
17:29you lose the importance of palenque.
17:52I think we can't let our culture lose.
17:54We are the ones who identify the music as palenque.
17:58We have to continue with that legacy,
18:02so that we don't lose.
18:03We have to continue with that legacy,
18:04that the children of the family,
18:07continue with that legacy,
18:09that the children of the people,
18:11all the children of the people,
18:12continue with that legacy,
18:13so that that will keep us here in our community.
18:16A pile of arroz,
18:18lloro yo,
18:19santo de día lloro,
18:21a pile of arroz,
18:24lloro yo,
18:25santo de día lloro,
18:27yo,
18:27el que lo pilaba ya se murió,
18:30santo de día lloro,
18:32el que lo pilaba ya se murió,
18:36santo de día lloro,
18:38como hago yo pa' comer arroz,
18:41santo de día lloro.
18:43Uff,
18:46es como decir,
18:51cuando está un perro estrenando collar nuevo,
18:56así me siento, contentísimo,
18:59no me cambio por nada,
19:00creo y siento que lo mejor que me ha pasado en la vida,
19:06es ser palenquero.
19:07santo de día lloro,
19:11a pile la arroz lloro,
19:14santo de día lloro,
19:18lloro yo,
19:20llelo,
19:21llelo,
19:23llelo,
19:24llelo.
19:27lelo y t Dru,
19:30llelo lloro,
19:32llelo,
19:36llelo llelo,
19:37And I love you Chancelo
19:40Llelelelu
19:41Llelelu
19:42Llelelu
19:44Llelelu
19:46Llelelu
20:02Llel
20:05Llel
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