According to Jorge Isaacs, the word Bambuco derived from bambouk, a geographic region of Senegal in Africa (see image). A Colombian dance rhythm with origins in the late 1700s and early 1800s in the Andean zone around the Cauca Region, Bambuco is traditionally played in a syncopated style combining 3/4 and 6/8 time. Vocalized, danced (see image), or played using a traditional tiple (see image), a Spanish guitar, a mandolin and occasionally a flute, it sounds and looks very much like waltz or polska music.
Definition of Bambuco:
In 1867, as cited by John Varney, Juan Cristomo Osorio defined Bambuco as follows:
- an air only in Colombia;
- a syncopated rhythm, that is to say the second beat is more notable than the first;
- always in minor key and sometimes with modulations;
- an air that is danced and sung and its specific accompaniment is that of the tiple and bandola
Outside of Colombia:
The genre was popular in the early 1900s, even spreading to the United States. In 1901, a group called La Lira Colombiana (see image) performed at the Buffalo Exposition. In addition, the first phonographic recordings of Bambuco were made in Mexico on the U.S. Columbia label by the duo of Leon Franco and Adolfo Morin. However, in the 1920s the genre ran into the popularity of jazz. Consequently, after 1930 its popularity diminished and it began sharing its role with cumbia and joropo as music representative of Colombia.
An Early Song Example
One of the first Bambuco composers identified was Nicanor Diaz who in 1789 wrote La Guanena, the story of a farm girl, a guanena, who is deceitful with her love.
The 3/4 time is evident in the first lines:
"Hey, yes! Hey, no!"
Then the 6/8 time comes into play with:
"The guanena tricked me with a few coins to make me love her."
The song is still sung at carnivals.
Changes Over Time:
In the social sciences the term diaspora is used to define the movement of people away from an established or ancestral homeland such as the slaves brought in by the Spanish. Likewise Bambuco, originally the traditional music of the southern Andean zone of Colombia, spread (see image) and popularized as people moved from the isolated mountain valleys and towns such as Papayan and Pasto, and were exposed to new instruments and ideas. As time went on, the music was scored, new brass instruments and the piano were added, and dances were choreographed to meet the needs of the civilized urban societies in cities such as Bogata. In recognition of its traditional roots, however, the biggest bambuco music festival, the Bambuco National Folk Festival and Beauty Pageant has been returned to the Andeas at Neiva, Huila.
Sources:
- Colombia Music. Colombia-sa.com (accessed Jan. 29, 2012)
- Jorge Isaacs. Maria. Wildside Press LLC. Rockside MD. 2007
- John Varney. Colombian Bambuco: The Evolution of a National Music Style. Griffith University. 1999 (accessed Jan. 29, 2012)
- Nueva York. Black and White Carnival. ipitimes.com. Oct. 11, 2006 (accessed Jan 27, 2012)
James Gibson - James Gibson is a retired teacher and small business owner. He is a published writer and has a wide spectrum of interests.
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