Quito Ecuador Music
While most of us would call Colombia the home of the forward-looking Colombian club scene, neighboring Ecuador has created its own dance floor identity in recent years. For example, the recently formed Northern Andes Indigenous, a small regional organization united under the banner of a newly formed political coalition, is strongly represented. When it was founded in 1986, it was a coalition of several indigenous peoples fighting for indigenous rights.
Here's a funny blog post I wrote that gives you an idea of what weather reports can be like. Click here for more information on the weather in Ecuador and a link to a video of the latest weather forecast for the region.
The following excerpt is the first line of the song "Quito Ecuador" (Quito Ecuador) of the band Quito.
The texts, partly Spanish, partly Quichua, describe a young indigenous woman who travels through the mountains and the sea. The song is often melodically influenced by Sanjuane, and the musicians draw on a wide range of musical styles, while preserving the characteristic Andean and indigenous musical qualities. Ecuador's coast has a rich musical history, influenced by African rhythms and traditions.
The music of the mestizo also reflects the history of Spanish syncretism, and they play guitar, bamboo and wind instruments. Many of these instruments are still used in Quito today, where you can meet solo singers and brass bands in one of the Quito bars.
The travelling musician Javier Grijalva led me through his homeland - recordings, recordings of collaborations and jam sessions he had with other travelling musicians on his travels. He explained that travelling abroad offers the freedom for musical discovery and expression that Ecuador does not have.
A Google search for Ecuador will reveal a number of interesting facts about the history, culture and culture of the country. Ecuador is divided into two regions: La Amazonia (also called El Oriente in the east) and the Galapagos Islands.
It contains elements that stem from intercultural interactions centuries ago, revealed by the Spanish colonial influence. Indigenous communities differ in their musical and cultural identity and in the composition of their music. Indigenous identity has shifted from a strongly locally-rooted community identity to a locally specific style, in which commercial Andean music has evolved into a pan-Andean style of music. In recent decades, however, it has become a "Panandesan" one, no longer characterized by a certain musical identity, but by the sharing of the same cultural and musical traditions.
This is perhaps unquestionably true in many cases, but it is also confirmed by the fact that many of the Andean musicians, such as Andes, Colombians and Guatemalans, have travelled abroad, learned new repertoire and still preserved specialised musical traditions in their home communities. Another factor that has encouraged the development of a Panandanian musical style, especially among young people, is that they pick up musical instruments and go abroad without caring about music or bothering to learn the traditions of their region, which has provoked sharp criticism from traditionalists in the community. Indigenous people who perform or record commercial music abroad have developed to the point where they can now perform traditional music at festivals and rituals of their Andean communities, as well as at concerts and other events.
Young indigenous people have realized that they can make much more money selling music and textiles abroad than from their limited life opportunities in Ecuador, and they have exploited the economic opportunities offered to them by Western capitalism through commercial music or the sale of textiles.
When the indigenous people saw that mestizos made money by performing indigenous music, indigenous musicians began to record and perform their own music in traditional social and ceremonial contexts. They were the first to transfer it from its original context to staged performances and recordings, and they appropriated it as a political song, released as an LP and performed at protests against left-wing party assemblies. Ecuadorian indigenous communities and has also conducted field research on them. Indigenous music and its appropriation for commercial purposes, but also for political purposes.
After the arrival of the Spaniards, the hat was used by the people of the country and cemented the Ecuadorian culture. The Virgin Mary, a Catholic saint, is a frequent theme, while indigenous influences still dominate the music of artists, including Manuel, better known as Caspicara. In the 1930s, when the socialist-inspired Nueva Cancion movement conquered Latin America, the indigenous people of Valle Imbabura began to produce textiles that were sold to international tourists.