CONVENTION FOR THE SAFEGUARDING OF

Groups of participants in events called “Llamadas de Tambores de Candombe” (“Candombe Drum calls”), belonging to different districts or neighbourhoods of the city of Montevideo, especially the Sur (Southern), Palermo and Cordón Norte districts.

Innumerable members of the community were driven to other areas by territorial segregation. Some of them come back on special days and occasionally take part in other “comparsas” (groups of musicians and singers) in areas apart from that historical nucleus.

The members of such groups are the descendants of African slaves, early comers to these lands, which have been socially and culturally marked by their presence. An outstanding feature of these groups is their continuity along a line of family links as respected drum players.

The “candombe” and its socio-cultural space fall within the demonstration known as “llamada o salida de tambores de candombe” (call or sortie of candombe drums), which is characteristic of the old districts historically inhabited by population of African descent. These are groups of people who play drums - stylistically differentiated according to the district - who wander along the streets playing structural, symbolically collective music, the product of an inter-generational and trans-generational transmission.

The candombe drums, ”chico” (small), “repique” (peal) and “piano” (piano) gradually build up a collective language characterized by an orderly system of “calls” and “answers”, set within the complex structure of differentiated musical forms of behaviour.

Together with the drum players there are such persons as take part in this community ritual, dancing in front of the set of drums, or walk on both sides or behind, or simply those who watch the progress of the drum players’ group, i.e., the drum-call parade, from the windows or balconies of their homes.

These demonstrations take place every Sunday, as well as on holidays: 25th of August (National Independence Day, in which the freedom of children born of slaves was decreed in 1825¹, Christmas Eve, Christmas, New Year’s Eve, and the 6th of January, Saint Balthasar’s Day²).

Notes:

“Drum calls” – “Drum sorties” – “Candombe drums”

Groups of participants in events called “Llamadas de Tambores de Candombe” (“Candombe Drum calls”), belonging to different neighbourhoods of the city of Montevideo, especially Sur, Palermo and Cordón Norte districts. The members of such groups are mostly the descendants of African slaves, early comers to these lands, and who were socially and culturally marked by their presence. An outstanding feature of these groups is their continuity along a line of family links as respected drum players, duly recognized by the community.

The music of the candombe drums and the socio-cultural demonstration we aim to preserve takes place in the Sur, Palermo and Cordón Norte districts of the city of Montevideo, concentrating on two streets, Isla de Flores street (a sector of which bears the name of Carlos Gardel) and Gaboto street, which links these two areas (see map).

The Candombe and its socio-cultural space have a place within several areas defined under 2.2 in the Convention on the Immaterial Cultural Heritage in 2003 (2.2), externalized as “social and ritual uses and festivities”, constituting a ritual and original demonstration of African negroes of different ethnical origin, brought to Uruguay as slaves. As “traditional music and dance”, it is a collective language of “calls” and “answers” set in a complex structure of lines of behaviour. When globally transmitted (rhythms and drum building technique) from one generation to another, it becomes a part of the sphere known as “oral traditions and expressions” and “traditional crafts and techniques”, said transmission taking place within the family and the neighbourhood, and spontaneously in daily life.

The “llamada” (call) is a group moving along the streets playing drums, accompanied by a sector of the members of the neighbourhood, that take part in the event either from the beginning or joining it during its course, walking or clapping hands, or merely watching from the pavement. The territory then acquires a special dimension in this parade: the beat of the drums is different from one district to the other, and generates strong links of involvement through the characteristic sound of the drums corresponding to each area. They bring together and at the same time divide the neighbourhoods.

A “cuerda” (i.e., a set, in this case) is a group bearing a relatively different proportion, having three different kinds of drums, on account of their size, register and musical function: the smallest one (“chico”) is the one having the highest-pitched sound, which plays continually and constantly all along the call. The middle-sized one, also of medium sound range, called “repique” (beat) improvises and controls the variations in tempo as well as the dynamics of the group. The bigger one, of a deeper sound (“piano”) keeps the basis of the music of the group, and its characteristics of style are indicative of the corresponding quarter of the city.

The three candombe styles and traditional and referential quarters are respectively Barrio Sur (the southern district), Palermo (Palermo district) and Cordón (Cordón district). Parades move along and meet in two streets that communicate such territories: Carlos Gardel (which at the corner with Ejido St. changes its name and retakes its original name, Isla de Flores), between Río Branco and Gaboto streets, and this last one up to the corner of Cerro Largo street, thus forming a right angle between both streets of the southern part of the city of Montevideo.

A short time before the time fixed for the drums to start moving, participants begin to arrive and prepare the elements for the tuning of the drums. This is done with fire, made up with crushed newspaper balls or pieces of cardboard brought by the participants. This moment witnesses a social gathering that favours the cohesion of the group, when sharing the time devoted to the procedure. And this is not only because a material reason, it we realize that in this process drums are included which have a membrane tightly stretched by tensors and rings, that technically should not be tuned or adjusted, but that are placed near the fire, their players forming a circle, as a part of the ceremony.

After tuning the drums the course of the “llamada” begins, which may also remain fixed or be different, according to the group of drums: in Barrio Sur the departure is at Carlos Gardel St, corner of Rio Branco St (referent: Fernando “Lobo” Núñez), or Carlos Gardel St. corner of Cuareim St. (referent: Waldemar “Cachila” Silva); the Palermo or “Ansina” drums at present start from Isla de Flores St. between Gaboto and Magallanes St. (referent: Perico Gularte) and the “llamada del Cordón” from Gaboto St. between Cerro Largo and Paysandú St. (referent: Pintos family). The stopping places are also different, according to the groups, a often these “llamadas” cross one another, which move in different directions (see map).

The “cuerda” (set) of drums and their entourage behave like a compact and moving mass. During its course traffic is spontaneously interrupted. The pavement is invaded by the “llamada” until the end of the event. When the group reaches the last sector of the route, together with the accompanying retinue, a circle is formed: there the “cut” of the “llamada” takes place, and people begin to disperse, coming back to their daily chores.

The collective character of the “llamada” is shown at different levels which superpose and complement each other. On the one hand, we have the specifically musical, but the organizational aspects of the “cuerda” as well, which forms lines and columns, according to the drums. A complex mechanism is apparent in the “llamadas” that make this practice to be properly held in spite of the high number of participants. In the front rows the most prestigious members of the group are placed, one of them being the head of the “cuerda”, whose movements and gestures contribute to maintain both the polyrhythmical combinations, ordered in fluctuating tiers in different pitches, heights and musical functions and the different degrees of improvisation, changes of tempo and dynamics.

This expression is a response to the subtle mechanisms of transmission and participation of the population of African descent, historically marked by collective features, beginning with the practices held until the end of the XIX century in the organizations called ”salas de nación” (approx. “nation halls”), in which the cultural principles of the African nations were kept alive, and then in the collective dwelling places for rent for very low-income tenants (“conventillos”), that allowed such practices to be continued uninterruptedly, and that today have become our “llamadas de tambores” (drum calls) of these districts, where the houses from which drums come keep their doors open to the community, and in which the referent families themselves have lived for several generations.

With reference to the candombe as an expression there is an apparent contradiction, between the acknowledgment of its popularization and the need to provide measures for its safeguard. As historian Oscar Montaño puts it, “the candombe has been so strong, deep and essential that instead of disappearing -a destination it was meant for at each historical stage of our nation- it has endeavoured to survive, overcoming all barriers and repressions”. It is recognized as Uruguayan music, as an expression of resistance and as a part of the collective celebration. This expansion is precisely what may lead it to dissolve and lose its sense and turn into folklore.

The Candombe and its socio-cultural space, and specifically the beat of drums in its organization, structure and symbology, are entirely interwoven with the daily life of the neighbourhoods mentioned in this paper, thus confirming a close relationship between the memory of the community that keeps this language and the social and territorial spaces in which it takes place. The quarter and its inhabitants have a great value for this collective event, because the holistic character of this performance -as Luis Ferreira has pointed out (2008)- brings them together with musical and body movements, both individually and collectively.

In the case of drum music in Montevideo and its cultural space, the distinction made by Blacking (cited by Friedson, 1996:134) between “music that is for being” and “music that is simply for having” is applicable here. Jorge Gularte (candombe musician) refers to his childhood saying: “I remember the collective kitchens that were like a concert of heaters and alcohol burners that in a way taught me what candombe is; the life of people is a candombe” (Rituales sonoros: Candombe, documentary video, 1996).

In the present context of cultural globalization and commercialization of cultural goods, drum music is taken by some sectors of the population -alien to the Candombe culture- as an element of cultural homogenization, accelerating and multiplying the deterritorialization of this expression, stated in the 1970’s (military dictatorship) with the territorial segregation suffered by poor or destitute families in the quarters with the higher concentration of population of African descent. But this new process -speeded up since the last decade- is detached from the dense, multidimensional style of cultural practice and its transmission in “candombe” districts, the outer layer of this expression being reproduced whose cultural and symbolic principles do not come from Western cultural sources.

The collective, traditional understanding that is shown in the conversational aspect of music, in the orderly improvisation, in the principle of inter-acting tiers, which are elements that provide a meaning and density to the movement, is giving way to the simple superposition of the basic beats of the three drums, which are learnt in the “candombe workshops”. There are elements alien to the musical idea of candombe, such as virtuosity, the making of “cuts” rehearsed to show skill, etc., that are a substitute for the collective, traditional understanding shown in the conversational sphere, in the orderly improvisation, in the principle of tiers that hold a dialogue on the basic performance.

This way of doing is being introduced in the socio-cultural space of the neighbourhoods in which the candombe tradition is kept alive through events held on Isla de Flores street, which links the Sur and Palermo quarters, quarters that are -as shown by Darío Arce- semiotically connected with candombe (2008:137), where the “llamadas de tambores” (drum calls) are legitimated and enhanced.

The words of Brazilian anthropologist José Jorge de Carvalho are enlightening: “the performatory side of Afro-American culture is what distinguishes it and turns it fascinating to the eyes of the Western consumer - consequently is it that side of expressive, or performatory, culture that may run the greater risk today; that is why the UNESCO’s new performatory agenda for the preservation of this heritage is an alternative, proposed at the right time, for the defence of a dimension that is a constituent part of Afro-American culture”.

The measures for the safeguard thereof proposed and the corresponding registration fall within the promotion for the respect for cultural diversity and human creativity, favouring a real dialogue between cultures, strengthening such expressions as are weakened today by homogenization and superficial appropriation.

Creation of the Committee for the Cultural Heritage of the Nation (Law nº 14.040, 1971) and creation of the Immaterial Cultural Heritage Department in 2007.

• 
  Creation of the National Fund for Music (Law 16.624, 1994)
  
• 
  Forwarding of the nomination of Candombe to the Ministry of Culture, as Immaterial Cultural Heritage, by the Director of Culture of the Montevideo Municipal Government, December, 2004.
  
• 
  The National Commission for UNESCO publishes the material requested from musicologist Mr. Gustavo Goldman with a view to said nomination (2005); he takes part in the Mercosur Project “The voice of the voiceless”, fostered by honorary Argentine Ambassador to UNESCO Prof. Miguel Ángel Estrella (2006).
  
• 
  Support to the dissemination of Grupo La Calenda (Lobo Núñez) for the meeting in Argentina. A research is made on said “comparsa” (2007).
  
• 
  Publication by the Legislative Power of the book “Día Nacional del Candombe y la Cultura Afrouruguaya y la Equidad Racial” (National Candombe Day and Day of Afro-Uruguayan Culture and Racial Equity), written by Representative Prof. E. Ortuño, himself of African descent (April 2006)
  
• 
  Declaration of the National Candombe Day and Day of Afro-Uruguayan Culture and Racial Equity (Law 18.059, 2006)
  
• 
  Photographic Exhibition,” 3 de diciembre de 1978: Medio Mundo, desalojo y memoria” (December 3, 1978 – “Medio Mundo- ejection and recollections”), publicized in the media, together with activities for human rights and racial equity, retrieval of recollections.
  
• 
  Celebration of the National Heritage Day, devoted to Afro-Uruguayan traditions (2007)
  
• 
  Creation of a specific item in the call for funds by the Ministry of Education and Culture to hold some research on expressions of Uruguayan life.
  
• 
  Inclusion in the survey of the Instituto Nacional de Estadísticas (National Statistical Institute) on quantitative and qualitative data on the actual black community, which constitutes about 9% of the whole population, of which a half is poor and a third is destitute.
  
• 
  Creation of the Observatorio Social (Social research unit) of the Municipal Government of Montevideo, which includes its thematic unit on people of African descent, together with non-governmental agencies and international agencies (2006).
  
• 
  Ratification of the Convention on the Safeguard of the Immaterial Cultural Heritage (January 2007).
  
• 
  Participation of Uruguay in the Centro Regional de Salvaguardia del Patrimonio Cultural Inmaterial de América Latina (Regional Centre for the Safeguarding of the Intangible Cultural Heritage of Latin America) (July 2008)
  
• 
  Constitution of a work team by the UNESCO National Commission for the forwarding of the nomination of Candombe for the Representative List of the Immaterial Cultural Heritage (March 2008)
  
• 
  Constitution of an ad hoc Committee with members of the Cultural Division of the UNESCO Regional Office in Uruguay, National Commission for UNESCO, Commission for the Cultural Heritage of the Nation and members of the community for the submission of the nomination of candombe for the Representative List of the Immaterial Cultural Heritage (July 2008).
  
• 
  Participation of the members of the ad hoc Committee in the First Sensitization Workshop: training in participation modalities and procedure for inclusion on the Lists of the I.C.H. Convention. 2003” – CRESPIAL (Cusco, August 2008).
  

In order to provide a safeguard and in turn strengthen the awareness of the “Candombe and its socio-cultural space: a community practice four lines or axes of action have been developed, complementary and interrelated:

- Register and Inventory

- Education and Sensitization

- Strengthening of inter-generational transmission

- Strengthening of the community of African descent

Line of Action 1: Registration and inventory

Activity 1 - Registration of the State of the Art

A documentary registration shall be carried out of all materials extant on the element in question. The referent’s private archives shall be examined as well as their cultural and neighbouring associations; relevant publications made by researchers as well as those made or kept by different institutions or bodies under State control shall also be studied.

The purpose of the Register is to unify all materials now extant, defining the weakest thematic areas, which must be consolidated by studies and inventories. This shall be carried out with the help of University professionals as well as members of the community of African descent.

This Register shall be kept with the collaboration of the University of the Republic, the Montevideo Municipal Government and the Ministry of Education and Culture through the National Commission for UNESCO and the National Heritage Commission.

Other participants of the Ministry of Education and Culture are the Romantic Museum and the Museum of the Spoken Word of the S.O.D.R.E. (Official Broadcasting, Television and Radio Service).

Activity 2: Training of specialists in the inventory of the Immaterial Heritage

In collaboration with the Ministry of Education and Culture of Uruguay and CRESPIAL the participation of Uruguayan researchers shall be facilitated in online courses on the Inventory of the Immaterial Heritage organized by CRESPIAL, in order to have a group of experts to draw up an inventory of the candombe and its socio-cultural space.

The main beneficiaries of this training shall be the researchers of the academic world, and those of the community itself.

Line of action 2: Education and sensitization

Activity 1: Inclusion of candombe as a part of Immaterial Heritage in formal and informal education curricula.

Implementation of the initiative proposed in 2006 on the Inter-disciplinary Thematic Network for Afro-Uruguayan Studies at the University of the Republic with the purpose of carrying out research, educational and extension activities.

The work at the different education levels, public and private, shall be systematically continued, including these subjects in the classroom.

Ministry of Education and Culture:

Creation of contents and materials in different supports (paper, audio, video, games, performances) for educational activities shall be encouraged by calls for funds.

Dissemination and promotion of activities from the centres of the Ministry of Education and Culture for the sensitization and awareness of the contents of the Immaterial Heritage given priority, i.e., the candombe and its socio-cultural space, as well as other valuable contributions of Afro-Uruguayan culture in the building of our identity.

These contents shall prove beneficial not only to our students but shall also serve to enlarge and deepen the teachers’ knowledge on the subject, and to eradicate some stereotypes of the candombe and its socio-cultural space.

Activity 2: Sensitization on a national level about the need to safeguard the candombe and its socio-cultural space.

Use of public spaces in which “Ayer y Hoy” (Yesterday and Today) photographic exhibitions may be organized, showing past and present views of the candombe and its socio-cultural space.

Retrieval and increase of the collections of the Municipal Photographic Archives of Montevideo, opening a specific register of the Immaterial Cultural Heritage, particularly with reference to candombe.

In order to give this activity the utmost publicity, it shall be accompanied by talks and workshops to be held at cultural and neighbourhood associations of the candombe referents, as well as in other institutions connected with the culture of persons of African descent.

Line of action 3: Strengthening of inter-generational transmission of values and knowledge

Activity 1: Retrieval of the memory of historical referents (present and past) and recognition of their work.

Documentary films shall be collected and produced, making interviews to the present referents of the traditional candombe. This activity shall be carried out and publicized by the State channel, depending on the Ministry of Education and Culture (S.O.D.R.E.) and by the Municipal Television Channel (TV Ciudad).

Activity 2: Retrieval of family recollections through young people.

Working with the young, the future community referents, on the knowledge of their past, retrieval and valuation thereof.

Such young people whose ancestors are the holders and representatives of this tradition shall be encouraged to carry out some research about the past and origin of their ancestors. Thus inter-generational dialogue shall be favoured.

Development of the “Heritage in the hands of the Young” Project of the National Commission of UNESCO on these topics.

Activity 3: Holding of workshops on candombe and its socio-cultural space at cultural and district associations of present-day referents.

Making community meetings possible, as well as workshops in which to encourage the acquisition of knowledge and the awareness of the expression of the element to be safeguarded.

Fostering the dialogue between this expression and other widely extended forms of beating the drums, that, even if valid, do not reflect the awareness of the complexity of the phenomenon.

Line of action 4: Strengthening of the community of African descent

Activity 1: Holding meetings with the community, making their participation essential in the effort to maintain the safeguard of its cultural heritage.

The passing of Law 18.059 was a landmark for the unity of the community of African descent. Its sundry organizations hold differences and rivalries that in some cases may prevent the adoption of tenable policies. Gatherings shall be organized using the “Decision by consent” method, admitting particular tendencies but fostering a respectful, productive dialogue in order to implement proper safeguard measures together with the State.

Activity 2: Creation of a Dialogue Board, with state actors that may lead to materialize such safeguard measures.

The action agreed when proposing Law 18.059 must be implemented, which entails negotiation with different authorities. Concrete measures are to be taken, such as the recovery of “Conventillo Ansina”, repopulation of the territory by the communities, stopping demolition and creation of a “Casa del Candombe” in the area all this implies a definite support by the Municipal Government of Montevideo, the Ministry of Education and Culture through the Committee for the Cultural Heritage of the Nation, the Ministry of Housing, Territorial Organization and Environment, and Ministry of Economy and Finance. In order to develop such safeguard measures efficiently the determined support of the State and the Communities is absolutely necessary.

The letters written by representatives of the state and the Community involved in this campaign approve of and certify the parties’ commitment.

In the field of legislation, Representative Prof. Edgardo Ortuño Silva, himself of African descent, proposed a bill, nº 18.059, in accordance with the Community, making the 3rd of December Uruguayan’ National Candombe Day, and the Day of Afro-Uruguayan Culture and of Racial Equity. Article 5 thereof reads: “The Candombe is hereby declared to be a part of the Oriental Republic of Uruguay’s cultural heritage, characterized by the use of drums called “chico, repique and piano”, as well as by its dance and song, created by Afro- Uruguayan authors from the ancestral African heritage, its ritual origin and social context as a community” (2006) This act, 18.059, was passed on November 20, 2006.

The Ministry of Education and Culture in 2007 made a call for funds for research on persons of African descent. In the year 2008 it supported the constitution of an ad hoc committee to forward the corresponding nomination, providing it with human and financial resources through the UNESCO National Commission.

The Montevideo Municipal Government was the seat of the Latin- American and Caribbean Coalition of Cities Against Racism, Discrimination and Xenophobia, the opening ceremony of which was held on October 25, 2006. The agreements subscribed established municipal sectorial policies, giving a new life to the Thematic Unit of Persons of African descent.

The Department of Culture definitely includes the candombe among its formal and cultural activities and fosters the creation of training workshops the content of which should be revised together with the members of African descent of the community, as the candombe has already become more popular and expanded in its music, thus losing the socio-cultural sense that is meant to be preserved.

The municipal government’s duty is to pass legislation concerning its territory and its use by a part of the community with the purpose to preserve the population and community practices of those who continue to reside downtown.

With the Community, in view of its fragmentation, and in part because there are “comparsas” (musical groups) in competition and in part with the aim to produce strategies to internalize the dominance, it will be necessary to take action to continue to plan out joint strategies, applying methods for the consensual taking of decisions. The work with the community itself may allow people who are older than 70 who have taken part in the first parade of “llamadas”, who used to be members of the comparsas and included tangos in their repertoire, who made drums out of the staves of “yerba maté” barrels, to convey the strength and the importance that the descendants of African blood have on the Uruguayan culture. Lines of action promoted by UNESCO as a “Heritage in the hand of the young” will signify for the new generation assuming commitments that may bring about a revitalization of their ancestors’ legacy.

The process for the submission of the nomination of the “Candombe and its socio-cultural space, a community practice” has been continually and actively supported by the community involved since the beginning.

It started in, and has continued uninterruptedly since, April 2002, by means of interviews and meetings meant to raise public awareness among the main community members of the characteristics of this enterprise. In this field we must stress the participation of Mr. Fernando Núñez in the “First Sensitization Workshop, training in modalities and procedures for the participation in the Lists of the PCI Convention 2003”, organized by UNESCO and CRESPIAL in Cusco in August 2008.

This work was also enhanced by two key researchers, legitimated by the community itself, musicologist Gustavo Goldman and historian Oscar Montaño.

Closing the process for the presentation of the nomination, a workshop was held in which all community referents took part in order to share points of view, sensations and offer proposals vis a vis the final document of nomination.

As may be noticed in the annexed letters of commitment, the Community and its referents as signatories, approve of and ratify their acceptance, participation and engagement concerning the nomination, as well as their involvement with the progress obtained up to this time by the work team that is submitting this report.

Through these letters of commitment submitted by representatives of the State and the letters of the Community represented in this instance, it is stated and certified 2 that the measures for the safeguard proposed in this project and form do not imperil the state, the nature and reproduction of the immaterial Cultural Heritage involved.

However, some measures taken by the State that include both tourism and culture, disseminating the candombe as an identity symbol of Uruguay, are a threat against the very nature of the candombe and its cultural space. If the State is not made aware of the need to control the capital, the social and cultural expressions such as the territory and its population, the candombe runs the risk of a gradual weakening.

The "candombe" is within the mission of the Commission since the approval in 2006 of the Convention for the Safeguarding of the Intangible Cultural Heritage. Until now the "candombe" is included in the Inventario de fiestas tradicionales del Uruguay (Inventory of traditional feast days in Uruguay) that is being developed currently and is within the framework of the first item established by UNESCO: Social practices, rituals and festive events (Usos sociales, rituales y actos festivos). The process of developing the inventory begun in early 2007 and continues until now; 80 celebrations have been registered –from a total of 250– all around the country.

The “Desfile de llamadas” (“llamadas”, “call drum”, is a kind of parade) is the expression of the "candombe" and takes place in February, during Carnival, mainly in the street Isla de Flores (Barrio Sur, Barrio Palermo) of Montevideo city.

Other backgrounds:

- August 2, 2006. Approval of the Convention for the Safeguarding of the Intangible Cultural Heritage, ratified in October 17, 2003, at the UNESCO General Conference - 32nd. Session, held in Paris, from September 29 to October 17 of 2003.

- November 28, 2006.

b) The 3rd. of December is declared "Día Nacional del Candombe, la cultura afrouruguaya y la equidad racial" (National Day of the Candombe, the afro-uruguayan culture and racial equity).

- January 2007. An Area of Intangible Cultural Heritage is created in the CPCN.

- January 18, 2007. Ratification of the Convention for the Safeguarding of the Intangible Cultural Heritage. Paris, October 17, 2003.

- October 2007. Heritage Day, subject: "Afro-Uruguayan cultures: an homage to Rosa Luna, Martha Gularte and Lágrima Ríos".

- July 2008. Uruguay becomes a member of the Regional Centre for the Safeguarding of the Intangible Heritage of Latin America (CRESPIAL), and the Commission of Heritage becomes the focal point towards the UNESCO category 2 centre.

- August 2008. Uruguay joins de Special Projects work groups: Afro-descendents and Guaraní culture, of CRESPIAL Centre, after the steps taken in Cusco, Peru.

Video: “El candombe, una expresión comunitaria”, Diego Lozza, Sept.2008

Photos: 10, by Andrea Sellanes and Gustavo Goldman

Suplementary:

Photos: 4, by Andrea Sellanes and Gustavo Goldman

Maps: 2

– Candombe en Montevideo

Books: 2

– Día Nacional del Candombe, la cultura afrouruguaya y la equidad racial. Parlamento del Uruguay, 2007

Appended.

Arce, Darío, 2008: “El desfile de las Llamadas como ritual conmemorativo”, in: Goldman, Gustavo (comp), Perro Andaluz Ediciones, Montevideo.

Brand, Max Hans, 1987: “Estudio Etnomusicológico de Tres Conjuntos de Tambores Afro-Venezolanos de Barlovento”, Centro para las culturas populares y tradicionales CCPYT, Caracas.

Chernoff, John Miller, 1979: “African Rhytms and African Sensibility: Aesthetics and Social Action in African Music Idioms”, University of Chicago Press.

Carvalho, José Jorge de, 2002: “Las culturas Afroamericanas en Iberoamérica: lo negociable y lo innegociable”, Serie Antropológica, Universidad de Brasilia, in web page: http://www.unb.br/ics/dan/Serie311empdf.pdf, accessed september 15, 2008.

Ferreira, Luis, 1997: “Los tambores del candombe”, Colihue Sepé, Montevideo.

—, 2008: “Dimensiones afro-céntricas en la cultura performática uruguaya”, in: Goldman, Gustavo (comp): “Cultura y Sociedad Afro-rioplatense”, Perro Andaluz Ediciones, Montevideo.

Frigerio, Alejandro, 2000: “Cultura Negra en el Cono Sur: Representaciones en conflicto”, Ediciones de la Universidad Católica Argentina, Buenos Aires, Argentina.

Friedson, Steven M., 1996: “Dancing Prophets. Musical Experience in Tumbuka Healing”, The University of Chicago Press, Chicago & London.

Goldman, Gustavo, [1997] 2004: “¡Salve Baltasar! La fiesta de reyes en el barrio sur de Montevideo”, Perro Andaluz Ediciones, Montevideo.

Montaño, Oscar, 2008: “Historia afrouruguaya” (falta especificar editorial)

Bibliographic:

Andrews, George Reid, 2007: “Afro-Latinoamérica: 1800 – 2000”, Iberoaméricana – Vervuert, Madrid.

Ayestarán, Lauro, 1967: “El folklore musical uruguayo”, Ed. Arca, Montevideo.

Carvalho Neto, Paulo de, 1965: “El negro uruguayo (hasta la abolición), Editorial Universitaria, Quito.

Ferreira, Luis, 2001: “La música afrouruguaya de tambores en la perspectiva cultural afro-atlántica”, in: Anuario de Antropología Social y Cultural 2001, FHCCE, Montevideo.

Frigerio, Alejandro, 2000: “Cultura Negra en el Cono Sur: Representaciones en Conflicto”, Facultad de Ciencias Sociales y Económicas de la Universidad Católica Argentina, Buenos Aires.

Luz, Alejandrina da, 2001: “Los conventillos de barrio Sur y Palermo: mucho más que casas de inquilinato”, Odos Ediciones, Montevideo.

Montaño, Oscar, 2001: “Yeninyanya: Umkhonto II, 2001: Historia de los afrouruguayos”, Organizaciones Mundo Afro, Montevideo.

Olaza, Mónica, 2005: “La cultura afro uruguaya: una expresión del multiculturalismo emergente de la relación global – local. Tesis de Maestría, Departamento de Sociología, Universidad de la República, Montevideo.

Olivera Chirimini, Tomás – Juan Antonio Varese, 2000: “Los candombes de reyes: Las llamadas”, Ediciones El Galeón, Montevideo.

Santos, Beatriz – Teresa Porzecanski, 1994: “Historias de Vida: Negros en el Uruguay”, Ediciones Populares para América Latina, Montevideo

Web sites:

Jure, Luis, 1992: “Perico suba ahí: pautación y análisis de un solo de Pedro “Perico Gularte”, electronic document, http://www.eumus.edu.uy/docentes/jure/ perico/perico.html

Jure, Luis and Olga Picún, 1992d: “Los cortes de los tambores”, electronic document, http://www.eumus.edu.uy/docentes/jure/cortes/cortes.html

Ferreira, Luis, 2001: “La Música Afrouruguaya de Tambores en la Perspectiva Cultural Afro-Atlántica”, in: Anuario Antropologia Social y Cultural, v. 1, UDELAR, FHHCCE, electronic document, http:// tangotour.danielmachado.com.uy/letras/ferreira1.pdf

Goldman, Gustavo, 2004: “Tango: emergentes de un conflicto en la sociedad afromontevideana, in Músicas al Sur N 1, electronic document, http:// www.eumus.edu.uy/revista/nro1/goldman.html

Lic. Clara Netto; Secretaria General de la Comisión para la Unesco, Uruguay claranettosn@gmail.com; nettoc@mec.gub.uy; +5982 915 63 52

Dr. Felipe Michelini, Presidente de la Comsión para la Unesco de Uruguay, Subsecretario del Ministerio de Educación y Cultura.

michelin@mec.gub.uy ; +5982 915 29 63 Ministerio de Educación y Cultura, Reconquista 535 CP11100 Montevideo Uruguay.

Ministerio de Educación y Cultura de Uruguay

Reconquista 535, CP 11100, Tel. +5982 915 29 63, Montevideo, Uruguay

Juan M. Gularte - Durazno 1084, Ap. 5, 9080661

José Pedro “Perico” Gularte - Reconquista 268 Ap. 10, 9169461

Fernando “Lobo” Núñez Ocampo - Carlos Gardel 1017, 9089511

Aquiles Pintos - Islas Canarias 5121 Ap.1, 3078405

Waldemar “Cachila” Silva - Curuguaty 1034, 9018869