"The union of two nations sisters"
"It is a law of the llanero to shake hands to the one that arrives.
The one that is inside is assisted
and the one that is out gets off
and with great racket he/she is opened the talanquera
as if it was a brother
that of other lands he/she came… "
DEFINITION
The folclor Llanero, one of the purest and authentic that Colombia has left you/they, is a the basically mestizo folclor, a distillation of features so much Spanish (specially Andalusian) as native of America that began to interactuar in the XVI century with the first encounters among missionaries and indigenous, nevertheless the external contact that has always existed. During the Colony the uninterrupted influence of Venezuela was evident in the appearance of African elements as the syncopated distinctive rhythm of the joropo and the celebration of the "Time of Negreras" in Arauca.
The Venezuelan influence in the XX century can be in the growing popularity of the liquilique and the song joropo or passage. The sporadic exchange has also been presented with the Colombian interior.
One can affirm that the music llanera is patrimony of Colombia and Venezuela, since in the frontier this music is listened and it is loved equally in the two countries. Of there that a song llanera says: "Colombia and Venezuela are two nations sisters, for that reason I have thought that if I achieve that she loves me, they will unite but our lands, I will be the owner of two souls"
EVOLUTION
There are two dimensions of the music llanera: the urban one and the peasant.
The peasant, is the original music. The one that narrates the vivencias of the field, the injustices of the politicians, the loves really... it is the Creole music that for those but traditional he/she should not mix with the urban gender, because they consider it very distant to the original musical essence.
The music llanera is universal being Creole, and it conserves the true language of the field, as well as its rhythms, instruments, and the whole necessary atmosphere so that it is tradition, the radicals argue, affirming that he/she doesn't need to become urban to be recognized.
However, it is recognized the fact that the music's urban llanera cultores, possesses great love for this gender, to what you/they add him their creativity, sometimes more momentous than the music rural llanera. Exponents like Reinaldo Weapons, Luís Silva, Ignacio Rondón, Arnulfo Briceño, demonstrates that the gender can spread at levels that they go there of the opposite Venezuelan colombo, without forgetting its roots and its essence.
THE TROVA
The trova was born of the songs that the medieval gentlemen diffused through the jugglers. The Iberian ones receive from the French the song of the jugglers up to 1400, when the bourgeoisie takes the cultural initiative, and music no longer composes but rather he/she adds different texts to the same melodies of: blue tone, hypersensitive tone, monkey tone with line and silver tone.
In the current Plain it is happening something similar, because they put on letters to the old blows as: guacharaca, gaván, zumbaquezumba, San Rafael, kirpa and the other ones. These same blows that also called themselves sones, are those of the I dispute of our copleros or jugglers of the Plain.
THE ONE DISPUTES
I dispute it is the challenge song among copleros. Coplero is the singer that improvises ballads. Minstrels, trouveurs and copleros are the interpreters of the song repentista and traditional of the town.
coplero #1
Tell me you cantador
With all their understanding
as he/she could a candle
to light two rooms.
Coplero #2
I answer him the question
because I have talent
if I put it in the half
it lights out and inside.
SOME OF THE REPRESENTATIVES OF THE TROVA AND THE ONE DISPUTES THEY ARE: CIRO BARRIER of the CASANARE. YANETH VARGAS of the VICHADA.
SACRED DAHLIA of the one. VICHADA.
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