It may be cold outside, but in terms of cultural performance the new year is off to a sizzling start with the much anticipated arrival of the 22-member folkloric ensemble Peru Negro. The award-winning ensemble will be celebrating Peru's African-derived culture through vibrant dances, passionate songs and colourful costumes in a high-energy show at Roy Thomson Hall (60 Simcoe St.) Tuesday, Jan. 22 at 8 p.m.
Peru Negro was founded by musician-choreographer Ronaldo Campos de la Colina. The interesting story behind the creation of the band originates in 1969, during which time, Campos, a local musician, was earning his living playing in a Lima tourist restaurant. With encouragement from the restaurant proprietor, Campos adapted his repertoire to emphasize African-inspired music.
With the change in his sound, crowds soon began to fill the small tourist attraction; Campos, responding to his newfound success, put together a backing band made up of family and friends - Peru Negro was born. Soon after their unlikely development, Peru Negro won the grand prize at the Hispanoamerican Festival of Song and Dance in Buenos Aires.
Almost overnight, Peru Negro had become the sensation of South America and a national Peruvian treasure. Appointed by the Peruvian government as the official "Cultural Ambassadors of Black Peru," the Lima-based music/dance company now tours the world and runs its own school where it trains its junior troupe, Peru Negrito.
Today, under the artistic direction of the founder's son, lead percussionist Jaime Ronaldo Campos Ponce (whose wife Monica Duenas is the lead singer), Peru Negro remains a family affair that includes two generations of world-class performers.
However, the long history of Peru's musically infused heritage goes back much further than this 'first family' of African-inspired music.
The origin of black Peruvian song dates back to the early 1700s, during which time Peru, like many South American territories, practised race-based slavery and imported kidnapped men, women and children from Africa to work the agricultural fields. Soon after the introduction of slavery to Peru, all slaves were banned from using drums, as it was found that the imported slaves had the ability to send communication and signals through long established drumming patterns. To express and preserve their rhythms, the slaves substituted objects found in the fields, such as wooden fruit and vegetable crates, which developed into the cajon, the national instrument of Peru. (The cajon is a rectangular wooden box, which the player sits on and beats with both hands to create the intricate rhythms that form the foundation of most Afro-Peruvian tunes.)
Other percussion instruments that evolved from this period are the cajita (a church collection box that hangs from the neck and is played by opening and closing its lid and tapping its side with a stick); and the quijada de burro (a dried-out donkey jawbone used as a shaker and scraper instrument). These unusual sets of instruments, when joined by Latin percussion, guitars, and passionate vocals, create the distinctive and unforgettable sound that is the heart of Afro-Peruvian music.
The presentation of artistic beauty, history and legacy displayed through the authentic arrangements of Peru Negro is an occasion not to be missed. Visit www.roythompsonhall.com for more information regarding Peru Negro.
Jon Sarpong is the diversity officer at Durham College. He provides independent diversity training and consultation for various organizations. Contact Jon by e-mailing jsarpong@hotmail.com.