|
Parrandas, Areitos Transformed
by
Domingo Hernandez De Jesus (Turey)
Email:
dhernandez@yai.org
Our ancestors worshiped in both private and public ways. Areitos were
celebrations which honored not only the Spirits but also the persons
hosting it along with the invited guests. Epic songs were sung and danced
to. Tekina were the ceremonial leaders of the Epic songs that recounted
both the deeds and the exploits of the ancestors. There was however also
room for the creation of new songs and dances. The Spanish documented that
the Casica Anacaona was famous for her compositions and choreography for
the Areitos. They even mention in one account that she organized an Areito
where over a thousand maidens danced in honor of the Spanish. These
celebrations took place in the Batey. That is the area where the sacred
ball game was played. It was important that all creation witness the
Areito. Song and dance were a form of prayer. It was a way for the
community to be and move as one. It connected everyone to the common
ancestor and reinforced the sense of kinship. Every important event in
human life was celebrated with an Areito.
With the conquest by the Spaniards the Areitos proved too
dangerous so they were soon outlawed. Organized gatherings were not
allowed except under the leadership of Catholic priests or a devote
convert and then only for the purpose of teaching the Christian faith. The
need for a substitute way of celebration, that met the need of the people
to express themselves was noted. Parrandas were brought from Spain to meet
this need. It was a tool used to reinforce the Christian doctrine while at
the same time allowing people their self expression and the need to
worship through song and dance. The Parrandas of Boriken began to look and
feel different from what was done in Spain. Our Parrandas had indigenous
elements within a Christian context. The Taino and their decendants still
played their maracas and guiros only now there was a Spanish guitar. The
celebrations still took place outdoors under the night sky. The dancing
often took place in the front yards of the Bohios and to this day this
area of the home is still called Batey. The songs were still mostly a form
of prayer that was taken from home to home until the wee hours of the
morning.
The songs that were sung at these Parrandas were originally of
a religious nature and many continue so to the present day. Jesus, Mary
and Joseph are sung about but with a Taino/Jibaro flavor. After a time the
Jibaro began to improvise new songs, not only about religion but also
about their joys and sorrows. Women have also been known to be great
improvisers of the sytles sung for Parrandas. When I hear a woman sing
decimas I hear Anacaona underneath the Spanish trappings and my heart
stirs.
We read about the Caribs or the Garifuna as many are called
today and we find reference to their "Paranda" (same word as our's but
only spelled with one R) as one form of traditional Carib music. There are
some differences in that they use three drums and turtle shell rattles.
Their Paranda is also stationary in that they sing and dance in one
location while we go from house to house. It can not be denied however
that both styles of Parandas have similar roots and purpose.
Today there are many recordings of the traditional Jibaro
music. The songs often speak of our Taino ancestors. The sounds of the
guiro and the maraca is always constant and consistent in the background.
It is there reminding us and connecting us to the Areitos of old. The
guiro and maraca in fact are everywhere in our Boricua music. Almost every
piece of Salsa music has them. However we've heard them for so long that
we stop noticing. It is the same with many other Taino cultural
expressions. If you eat viandas (root vegs) with fish, or corn, beans or
pumpkins, you are eating traditional foods. If you use achiote to color
your food or just cook an old fasion sancocho (ajiaco) you are connecting.
If you've ever attended a Parranda or had a Spiritist blow cigar smoke on
you or you prayed in front of your grandmother's home shrine, then you
were connecting.
The following
Décima is of my own inspiration. Written in the
traditional way. It has ten lines with 8 syllables per stanza.
Le Lo Lai Le Lo Le ay Le Lo Lai Le Lo Le
Hoy estamos recordando,
Hoy estamos recordando,
Las costumbre del abuelo
De Yukiyu un te quiero
llevo cuan flor entre labios
En Boriken hay Quaribos
En Boriken hay Quariches
La voz del Coqui me dice
Daca Taino Taino.
Translation
Le Lo Lai Le Lo Le
Today we are remembering
Today we are remembering
The customs of the grand father
An " I love you" from Yukiyu
I carry as a flower on my lips.
Boriken has brave men.
Boriken has brave women
The voice of the coqui frog says
I am Taino, I am Taino.
I'm sharing this today in the hopes that we become more aware
of how much of our culture we really still retain. My dear friends, try to
remember this as you celebrate the coming holiday season. Our unique
cultural expressions are there just beneath the surface, all we have to do
is take a second look.
In Peace
|
PARRANDA NAVIDEÑA
Parranda De Baltazar
Fiesta En Villa Prades
Moviendo La Masa
En La
Tierra Mia
Forecita Mia
Endrujula
El Mucaro
El Mecias
El Gago
El
Pun
El Fua
MIDIS NAVIDEÑOS
Jibaro
Violeta
Jala Jala
Borinquen
Verde Luz
Jibaro Seis
Impromptu
Si No Me Dan
Feliz Navidad
Santo Nombre
Bajo La Sombra Del Pino
MAS NAVIDEÑOS
Trobadores De Décimas
La Vellonera Del ICP
Cancionero Navideño
|
