SEÑORES QUE SUENEN LAS PALMAS
REPIQUEN LAS CASTAÑUELAS
Y RETUMBE EL CAJON
LLEGO... LA MARINERA..
La marinera es nuestro baile Nacional. Expresión musical del sentir popular, libre y espontánea. La alegrÃa de su ejecución con pasos y figuras donde las parejas hacen derroche de gracia, picardÃa, habilidad, destreza y donaÃre nos muestran un coloquio de insinuación y enamoramiento con las caracterÃsticas propias de un hecho folklórico.
Como sabemos, la marinera tiene su origen en la Zamacueca o Mozamala. Han habido muchas discusiones e hipótesis, como que zamacueca tiene raÃces españolas y africanas. Pero ahora encontramos bases documentarias, pictóricas y análisis filológicos que permiten revivir la vieja polémica y obtener, pruebas en mano.
Originalmente se le conocÃa como el nombre de "Zamacueca", pero en 1880 debido a la inspiración del escritor peruano Abelardo Gamárra conocido como El Tunante se le bautizó con el nombre de Marinera, en homenaje a la Gloriosa Marina de Guerra Nacional.
Este baile es el remate obligado de cualquier reunión familiar o social.
LA MARINERA GUARDA EN SUS VERSOS, MENSAJES QUE PERDURAN A TRAVEZ DE LOS TIEMPOS, NUESTRO BAILE NACIONAL DEBE MANTENER SU ESENCIA Y LAS COMPOSICIONES Y VERSOS QUE SE ESCRIBEN Y ENRIQUECEN NUESTRA MUSICA SERAN SIEMPRE UN VALIOSO APORTE PATRIMONIO DE NUESTRA CULTURA POPULAR.
AMEMOS Y RESPETEMOS LA MARINERA Y SEGURAMENTE QUE AL VER NUESTRO PATRIMONIO EN OTROS LARES SENTIREMOS AÑORANZA POR EL TERRUÑO QUE NOS VIO NACER .
El Uso del Pañuelo o Falpik ( Portadores de Pallares) :
A través de las expresiones pictográficas y de grabados que figuran en ceramios, tejidos y lienzos Mochicas, podemos descubrir que el pañuelo se usaba ya en la época prehispánica. Por otra parte, gracias a las acuarelas de fines del siglo XVIII pintadas por Jaime MartÃnes Compañón sobre escenas y costumbres de los Mochicas, en las que se aprecian figuras portando pequeñas bolsas notamos que, con el tiempo, las bolsas mencionadas fueron reemplazadas por pañuelos. Este, como puede verse, formaba parte obligada de la indumentaria de nuestro antiguo hombre costeño.
Vestido :
Con respecto al vestido, utilizaban una túnica con abertura a los costados para sacar los brazos, de color negro llamada " Anaco o Lotu ". Con este vestido bailaban "El Tondero", que en aquel entonces era llamado "La Danza de la Pava", que significa el apareamiento del Pavo y la Pava.
La Marinera es un BAILE CON PAÑUELO que se cultiva o practica en todo ámbito nacional, sin embargo algunos lugares, la han tomado como propia, dándole su tinte costumbrista tal es asi que podemos hablar de las siguientes marineras:
- LA MARINERA NORTEÑA es vivaz y muy alegre.
- LA MARINERA LIMEÑA que mas lenta, pero llena de gracia y salero, generalmente remata con una resbalosa.
- LA MARINERA SERRANA es de carácter melancólico.
En esta danza popular los bailarines enarbolan pañuelos que hacen flamear con gracia y elegancia, el hombre en acción conquistadora...
La mujer subyugante en gracia y coqueteria.
El baile de la marinera se hace en pareja, se hace simulando el galanteo y reviste indumentaria de especial vistosidad, en el cual un palpitar de pañuelos están siempre presentes. El origen de este baile para muchos viene de Europa Barroca y romántica, territorio y época en los que se practicaba el los salones danzas de cortejos.
Percusión de cajón y palmas, cuerdas y canto, se dan bien en ambientes reducidos como un salón o un patio; pero en escenarios más grandes estos acompañamientos desaparecen para ser remplazados por bandas de música conformada principalmente por instrumentos tales como cornetas y tambores.
La indumentaria de la mujer es sencilla en el salón o en el patio y espectacular en el coliseo, en el que ella usa una falda ceñida en la cintura y conformada por varios y vistosos vuelos, mientras que el hombre complementa su vestimenta, que es menos pretenciosa y que esta compuesta por una camisa blanca y un pantalón negro, con un poncho y un amplio sombrero de paja.
Existen tres formas en que se puede adoptar el baile de la marinera: la limeña, la norteña y la puneña. La marinera limeña se baila en los salones de las viviendas del departamento de Lima y es de movimiento moderado y elegante. La versión que campea en el departamento de la Libertad y el tradicional concurso nacional de la marinera es la norteña. La marinera puneña se baila al aire libre en las alturas serranas del departamento de Puno. Sin embargo, estas formas de marinera se pueden reducir a dos: la marinera de la costa y la marinera de la sierra.
The Marinera is the Peruvian National Dance. It has its origins in tradicion, legend and was born in a Creole ambiance
The history tells us that when the Spaniards came to Peru, they found this dance in the areas that today we know as La Libertad and Lambayeque, on the coast of the Pacific Ocean northwest of Lima, the capital of Peru.
Ricardo Palma in his book, "Peruvians Traditions", wrote that at the end of the XVIII century Don Baltazar Jaime Martinez de Compagnon Bishop of Trujillo, whom he called "El Obispo de la Lisura", described the native dances called "Dance of the high land" today known as "Tondero" and another dance called "Dance of the low land" now called "La Marinera", a dance proper from the coast of Peru.
Over time this "Dance of the low land" slowly changed in dance steps and in wardrobe (atuendo) due to influences from diverse dances as Fandango, Zamacueca from the Afro-Peruvian, and Huaynos from the Incans (Peruvian mountain music).
This dance spread over coast and mountain, from north to south all over Peru, where they changed airs, rhythms & names.
It was during the time of high patriotic fervor that Abelard Gamarra "El Tunante" ("the Rascal") wrote the lyrics and asked a 13 yr. old girl named Rosa Mercedes Ayarza, a child prodigy of the piano, to transpose the music to paper. The music would eventually become known as "La Marinera" (the phrase is the feminine variation of the term "El Marinero", meaning The Mariner). Originally the music was to pay tribute and to immortalize the heroic deeds of the Peruvian Navy and the monitor "Huarcar" commanded by Admiral Miguel Grau Seminario who was from the north of Peru. Within a short time it became the music for the dance of the low land, La Marinera.
There are three very defined types of Marineras, they differ by their styles. The Marinera Limeña, in the major key, is happier and vivid, and ends in "slippery (resbalosa) and fugue (fuga)" with very rapid movements. It is more elegant or of ballroom, rhythmical, and it is danced with shoes and a handkerchief. The rhythm is more festive and happy (jacarandosa). The Marinera Costeña, (from the north or south zone) starts in minor key, goes to the major key and again returns to the minor key. It is played even more vivid than the Limeña and is always played twice. That is where the saying, "no hay primera sin segunda" ("there in no first without a second") was born. This type of marinera is more sensual, coquettish and with faster movements. The Marinera Norteña, differed from place to place: The Marinera Trujillana or the one from Moche is danced with shave (chal o rebozo), The Marinera Chiclayana or the one from Monsefu is danced by sweeping the feet (cepillado), leaping (saltitos), and the couple play with hats and handkerchiefs. The Marinera Piurana is more like the Tondero and is a very popular dance and more native in its nature but not less appreciated, because it displays (lucimiento) the dancers abilities to their maximum splendor. The Marinera Serrana, generally in a minor key, has slow movements, is repeated twice, and ends in "fugue" (fuga) of wayno" with such vivacity that it contrasts very much with the sentimental character of the first part. It has more mixture (mestizaje) steps, music and attire from the Andes and Huayno dances, as is in Arequipa, Cajamarca, Ayacucho, Ancash.
Each one has many similitudes and differences from each other depending of the influence of the Spanish, Incan and Afro-Peruvian dances by sector and regions. The picaresque and grace of the music, and the burlesque intention of the lyrics are united to the typical gyration (giros) of inciting (incitante) and allegro (alegre) melody, and at the same time the complex rhythms play is reinforce by the Peruvian Cajon (a wooden box used as drum), . Even in the choreography the Afro-Peruvian influence is established, where the man cortege and pursue (acosa), and the woman remains elusive (esquiva) and provocative.
To dance the Marinera Norteña the woman wears no shoes. She costumed in a beautiful two-piece dresse with an ample skirt made off vivid colors and adorned with ribbons and lace (in the colonial times those dresses were made off curtains materials). The white slips are called "enaguas" and are laced "gipiurs" or embroidered. The Shawl (Chal or rebozo) of "milk cloth" (paño de leche) is thrown over the shoulder and on her head is a hat made of palm tree or of "jipijapa" (Peruvian tree fiber). In her right hand she holds a white handkerchief that is constantly in movement to symbolize the free fly of the doves. The ample skirt is raised and held with the left hand to show with evenness (lisura) and grace (donaire) only one side of her leg. The typical jewelry is made by expert gold and silversmith artisans. The gold or silver filigree (filigrana) earrings are called "weepers " (Lloronas). "The three stations" are a matching set of ring, necklace with a cross or a locket (guardapelos) and choker cameo. Fresh flowers from the region adorn the headdress that is arranged in a "topknot" (mono vieja), a loop (rosca) or two braids (trenzas) and is finished with a small ornament comb, chaff (peineta) called "pajilla"(straws), "tembling"(tembleque) or "turkey hen" (pava).
The man dances with or with out shoes, black or white pants, a white shirt, a typical poncho (they can wear on or just carrier in the left arm), a typical weave girdle (faja tejida) (to support the pants), a hat made of "jipijapa" (palm) and a white handkerchief in his right hand.
Traditionally the Marinera musical accompaniment consists of a group of four guitars (two of the musicians will also sing the vocal part), the Peruvian Cajon (a wooden box used as drum), the spoons that substitute for the Spanish castanets (castanuelas) and everybody else present contributes with handclaps (palmadas) to the rhythm of the music.
The Marinera is elegant and complex at the same time. It is one of those few dances were the woman marks the rhythm and guides the man.
The Marinera is an expression of the spiritual intention of each person. It is a face to face dance in counter-point and not just of forced steps and marks or rigid choreography. It is creative and very impromptu. La Marinera is a love colloquy in which the dancers execute movements imitating the Peruvian Walking Horse (Caballo de Paso Peruano), the lovemaking of the ruster to the chicken while waving the white handkerchief high up in the air to symbolize the movement of the waves in the ocean and the free flight of the doves.
The Marinera is elegance, grace, gallantry and mischievousness. In simplicity, the Marinera is a dance of seduction between a man and a womanYou've been marked on my visitor map!