Approaching the Andean Carnival
During the last decade Carnival-related albums have seen great success in Bolivia and the Andes. Most of the CDs released in Bolivia include at least a couple of tracks connected to this festival, featuring caporales, ch'utas, kullahuadas, llameradas, morenadas... The albums listed below have been selected out of the last works by Bolivian groups mostly devoted to Carnival rhythms and styles.
A bailar en Carnavales
1. Ch'utas tradicionales: (a) Supay imilla (b) Cholito paceño (c) Novedades – 2. Noche serena – 3. Morenadas mix: (a) Santa Rosa de Limani (b) Virgen de Asunción (c) Puente al cielo (d) Chuquiago marka – 4. Cuecas de antaño: (a) En las puertas de un jardín (b) Soy hombre (c) Has visto morir el sol – 5. Huayños de antaño: (a) Mirafloreñita (b) Amarguras y congojas (c) Las piedras de tu calle (d) Clavelito (e) Desde que te conocí – 6. Morenadas: (a) Sueño eterno (b) Vida y salud (c) Hasta el día de mi muerte
Alaxpacha (in Aymara, "heaven") is a musical group from La Paz that performs Bolivian folk music in its traditional form. The band's repertoire comes largely from their hometown and is performed following the example of the city's popular musicians.
"A bailar en Carnavales", the sixth album of their successful career, features songs played at Carnival in the city of La Paz, including such famous rhythms as ch'utas, huaynos and morenadas. The band's arrangements of traditional Bolivian folk pieces (hence the label "de antaño", meaning "from the old days", included in the titles of the selections featured on this work) gives the album a personal, recognizable touch. The presence of the mandolin on most of the tracks is a welcome one, since this instrument has deserved little attention from other Bolivian musical groups and it is usually associated with huaynos.
A bailar (2)
1. Ese lunarcito – 2. Bodas de oro – 3. Chaukas de corazón – 4. 200 años – 5. Caporales INSUR – 6. Tinkus wistus – 7. Morenada del Bicentenario – 8. A La Candelaria – 9. Caporales ENAF – 10. Amor de Benita – 11. Caporales Domingo Savio – 12. La platita – 13. San Simón USA II – 14. La culpable
The group Llajtaymanta (in Quechua, "from my village, from my land") appeared in Oruro (Bolivia) in 1986. During its 25-years career, the band has explored Latin America music in general and their Bolivian roots in particular, as well as making incursion into pop music and ballads.
"A bailar (2)", the group's 17th recording, mostly features caporales and morenadas, two of the favourite dance rhythms of Carnival in Bolivia. Alongside with the former, the album also includes a tinku ("Tinkus wistus") and a diablada ("A la candelaria"). This work retains the traditional festive character, with lyrics referred to the comparsas and the commonplaces associated with all Carnival celebrations in Bolivia created entirely without electronic instruments. As happens with most albums that have been recently released, both in Bolivia and neighbouring regions, "A bailar (2)" puts special emphasis on a lively, festival-like style that made it to the top hits.
Yara es Yara
1. Ritmo sensual - 2. Orureñita – 3. Ternura de mi alma – 4. Misk'i imillita – 5. Paceñita por siempre – 6. Alcapones Tu Papá – 7. Ilusión de amor – 8. Linda chascañawi – 9. Fotocopia – 10. Madre Tierra – 11. Ingrato amor – 12. Stefanny – 13. Fue mentira – 14. Escuchando visiones
Yara (in Guaraní, "lord") is a Bolivian musical group born in 2001 in Oruro. From the beginning, the band approached their homeland traditional music from a modern perspective, featuring electronic instruments and arrangements borrowed from other music styles.
"Yara es Yara", the band's third studio album, brings together several popular rhythms of Bolivian music, many of which are mostly related to the Carnival, including caporales ("Ritmo sensual"), kullahuadas ("Orureñita", "Paceñita por siempre"), morenadas ("Ternura de mi alma", "Alcapones Tu Papá"), llameradas ("Linda chascañawi"), jalk'as ("Misk'i imillita") and huaynos ("Fotocopia", "Ingrato amor"). This is an album full of songs and melodies respectful of the past, yet entirely forward-thinking.