The Peruvian Cajon

The Peruvian Cajon

The culture of Afro-Peruvian music, with its spectacular representative: Cajon Peruano, identified in news publications of the nineteenth century, who used it and what kind of holiday, and participating sites used sonar.

The African slaves were brought to the New World, as is assumed in a foreign land, and felt a lack of communication in your environment. Talk is talk of African percussion, so they always looked for surfaces and objects to accompany their songs and on this side of the planet, as Peru, they found boxes or wooden chairs that sat in achieving music group, giving rise andalusia Cajón known and loved.

This would have used slave first large pumpkins, which, already dry and hollow, served, of course, to sit on each other after working hard in the fields, gathered to rest and talk, music arose as a magic pumpkin with Chacombo.

In the eighteenth and nineteenth centuries the slaves used for their holidays drum, crates of fruit and other foods that were no longer in use in ports, mainly in the port of El Callao.

Background Cajón cap were also simple sheet of wood planed about 25 by 30 centimeters, placed on four legs, like a table. Another was that he had a sounding board on which keys bottle caps "plates, which were covered by thin wooden rods. For blacks zamacueca Chancay using two desfondadas botijas mud covered their mouths with a leather belly donkey as a patch. The larger botija was named "Caller" and bore the base rate. The smallest was called "repicador and flowers on the pace of the first.

Eusebio Sirio "Pititi" is an instrument called enka KUA which means "wooden drum" of considerable size and are playing with their feet and hands. As is known, the Spaniards tried to eliminate any cultural expression of Indians and blacks, because that leads to the suspicion that enka KUA could have been reduced in size over time, giving rise to the Peruvian Cajón it is today.

One can therefore conclude that the box is the result of a long process of mixing some instruments that brought the first blacks came to Peru.

Peruvian rhythms with Spanish brand elements together and black Creoles, taking different names: the Land Tondero or the Panalivio the Sleet, the Payandé and Festejo, then to come Zamacueca known years later under the name Marinera. Assume greater way these rhythms with the inclusion of the Peruvian cajón. Becomes, the percussion instrument - by excellence - by the 50s. And the waltz enters the 60s through the popular Hook Arciniegas and Francisco Monserrate, first tañadores or drawers. The waltz then takes a more festive and syncopated.

In the 70s Cajon spreads widely among groups of black folk, thanks to the remarkable participation of Santa Cruz and Victoria Joint National Folklore and Ronaldo Campos, the head of Black Peru.

Years later becomes a necessary tool in the Creole music, reaches its climax in times of Arturo Zambo Cavero. Creole music group exhibits throughout the trio single guitar, and voice box. This is the Peruvian lexicon phrases like "box" or "clear box." The box is just over 50 years, is known to the chest of drawers Porfirio Vasquezs who contributes to its current form.

The response of the wooden box called rebound, and one of the most notable boxes, Maria del Carmen Dongo achieves its sensitivity. She has no tripe, no harm is done on the hands, no bone problems, less inflammatory. Work rebound, both of his hands as the Cajón. Maria del Carmen explains that there are three basic sounds in the box: the high-pitched sound, the serious and the environment. With these three sounds are used together in different ways, and the combination of volume and delicate shades ranging from deep to the strongest. Are entering the most sensitive in the room. The chest of drawers can make a single box. "

When more than one box, one of them carries the rhythmic base, while the other shades adorned with sound, this is what is called "flowers". Shows contrast between two forms of drawers, entering into a dialogue of percussion, while the pace with alternate base repicador, or "male and female."

El Cajon Caribbean: the box seat is large and horizontal, also called box. Accompanies various Caribbean rhythms such as the guajira and guaguanco, but in profile, clearly, do not match andalusia Cajón peruano.
Daniel Silva is the owner of several musica websites in english and spanish.