Higuanama Op. 16

Whilst randomly searching online for information about Higuey in precolonial and early colonial times, we came across a classical piece named in honor of a woman believed to have ruled Higuey at the time of contact with the Spanish. Composed by Pénélope Bigazzi, we are unsure of the inspiration for its title as the author was not from the DR or the Caribbean.

Cholo Soy

A Peruvian musical gem by Luis Abanto Morales.

Guateque Campesino

Whilst listening to old Cuban music, we came across yet another word supposedly derived from an indigenous language. Used in Cuban and Antillean Spanish, guateque seems to refer to house parties or dances. Checking bilingual or trilingual dictionaries for Garifuna, Lokono, Palikur, and Breton, we could not find any word similar to guateque. The term might be derived from another indigenous language. In Garifuna, Lokono, and Palikur, we found words for dance, but nothing quite specific as a "house party." In the Garifuna tongue, a dance is called abinahani and a party might be translated as fedu. In Palikur, dance is kay but a dancer is called kaykevutne. In Arawak of Guyana, dance is ibini, clearly similar to the Garifuna word. We wonder if there is any relation between the Palikur words for dance and dancer and possible Taino equivalents.

India del agua

In the Dominican form of Vodou, Indian spirits are often associated with water. We found this number, "India del agua" by Conjunto Batey, to be particularly beautiful and charming. 

Casabe Sabe

An old salsa song about casabe.

Dugu Song

Although we remain quite ignorant of the history and culture of the Garifuna peoples, it is astonishing and intriguing how this "Canto Dugu" resembles our Haitian ritual music and chanting. Rhythmically less complex, one can see, perhaps, the "Carib" or Indian influences in Garifuna music and tradition. That said, Garifuna Dugu undoubtedly has African features that unite it, at least somewhat, with the better-known Vodou, Santeria and other Afro-Caribbean traditions.

Cacibajagua

Although not remarkable musically, it is nice to hear Haitian and Dominican musicians in a collaborative project that commemorates the island's indigenous past.

Caonabo Tribute

Another beautiful music tribute to our caciques. This one, by Yoyito Cabrera, features some amazing percussion and a catchy chorus. 

Fernando Ortiz and the Areito

Although Fernando Ortiz's La musica y los areitos de los indios de Cuba is rather outdated, it still offers some very interesting insights on the areito and Cuba's indigenous musical influences. Written after his also dated essay on hurricane as a god to the Taino or indigenes of the Antilles, Ortiz sets out to establish the character of the areito, its social, religious and economic functions, and the weakness or general absence of indigenous influences in Cuba's music today. A large part of this is demolishing the wrong-headed notion of a surviving areito by Anacaona, which is nothing but a song or chant of Kikongo origin and which was sung in colonial-era Haiti. Interestingly, Ortiz sees the maraca as a possible example of indigenous influence on Cuban music but otherwise, Cuba's music is largely of European and African origin. The areito itself is demonstrated in its various facets, including drawing upon accounts of it we are not familiar with (such as one describing Indians in Trinidad, Cuba, singing and dancing during a hurricane). Ortiz, drawing from the Spanish chroniclers and ethnographic analogies with other indigenous people, sees the areito as something which was associated with war, divination, genealogies, history, and cemis. That songs were taught to the sons of caciques suggests the rise of rank and status as important parts of the areito, particularly for those who hosted them due to the exorbitant costs involved (in providing food and drink). The areito's religious associations, particularly with the prominence of behiques and the association with decisions that affected the collective were particularly important. What we found interesting however, was the notion of some areitos as rites of passage, an idea substantiated by indigenous cultures in other parts of the Americas. Sadly, we lack any real notion of what the music really sounded like, but since it was mainly based on voice and rhythm, Ortiz rejects notions that see fine melodies in Cuban music as a legacy of the indigenous past. For him, Cuba's musical and dance heritage is of European and African origins. One wonders what he would make of the theory of the ceremonia del cordon being partly influenced by the areito? After all, indigenous Cubans did survive for a long time in Cuba, perhaps retaining aspects of the areito dance long after the dissolution of Taino communities. 

Compas for Anacaona

Although not the best musical tribute to Anacaona (that honor belongs to "Anacaona" as sung by Cheo Feliciano), it is interesting to hear a compas-styled Haitian song named for the cacica. 

Justin Elie and Indianist Music in Haiti

Currently reading Largey's Vodou Nation and found the chapter on Ludovic Lamothe and Justin Elie fascinating. Unfortunately, unlike Lamothe, it's much harder to find recordings of Elie's music on the internet, so I can't locate examples of Elie's use of stock exotica for his Indianist compositions that appealed to the US market. It's amazing, Elie's music reflected a strain of Haitian thought that reveres the indigenous people of Hispaniola as 'symbolic ancestors' and key figures in anti-colonial movements (a practice seen among elites, such as Nau's Caciques d'Haiti published in the 19th century or peasant armed resistance to the US Occupation naming themselves cacos after the caciques), but his music really had no authentic connection to the music of the pre-colonial inhabitants of Haiti. Furthermore, I am a little disappointed that I cannot locate recordings of his work that reflect the Afro-Caribbean and Vodou heritage of Haiti, except for "Legende Creole" (which Largey attributes to Haitian Vodou influences). Alas, if only I could locate more of his meringues. "Chants de la montagne" has some stereotypical "Indian" traits, while 'Legende Creole" is based on a Haitian children's song with Vodou references ("Zonbi Ban-n Mannan").

One of these days, I'll have to track down Elie's "Prayer at Eventide," "Nostalgie," Kiskaya and other works that were popular in New York. It's astonishing how reviews and promoters in New York actually seemed to believe Elie's music was grounded in years of research in Central and South America (Elie did indeed tour throughout the Caribbean before moving to New York, but never engaged in ethnographic research with indigenous groups). Regardless, Largey's research on this Indianist legacy in Haitian literature, intellectual thought, and music is useful for future studies of indigenism and indigenous revivalism elsewhere in the Caribbean. 

Caonabo & Anacaona

Never realized Fernandito Villalona also had a song in honor of Caonabo. Pleasant enough listening and stresses the love of Anacaona and Caonabo.

Commemorating Anacaona

Surprisingly beautiful tribute to Anacaona from the Lecuona Cuban Boys. We will have to find out if there are more songs commemorating caciques from the 1930s.