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27-583: The dance is traditionally accompanied by several instruments: cajón , clarinets , guitars , drums , and bugles . The origins of the dance can be traced to Spanish , Moorish , Andean , and Gypsy rhythmic influences. Although the dance had informally been around in Peru since the colonial era , it was formally recognized as "Marinera" in honor of the Navy of Peru , or the Marina de Guerra del Peru in 1879 during

54-500: A bass drum pedal to the instrument, enabling them to play it with a single foot. There are also lap cajons (which are smaller and more portable) that sit on the lap of the musician. The instrument has been played not only with hands, but also with plastic and metal brushes, as used for drum kits , for example with the Pen Technique, developed by Patrizio Migliarini, which allows the musician to play jazz and funky rhythms with

81-409: A completeness and dynamic richness close to that of a drums, through the use of metal brushes. Another way of playing the cajón is to use an ordinary bass drum pedal, thus turning the cajón into an indirect percussion instrument which can be played with the feet. This enables the player to beat it just like a pedal- bass drum , thus leaving the hands (and one other foot) free to play other instruments. On

108-507: A proper diet. In order to strengthen the soles of their feet it is known that many marinera dancer women train by walking barefoot in the street, going to different places as a part of their regular routine and in their spare time, becoming what's known as "barefooters". The braver, more advanced female dancers are even able to walk barefoot on broken glass and to put cigarettes out on the tough soles of their feet, in order to make them stronger and to show others what they are capable of. Men, on

135-1002: A proposed origin for many Latin American dances, including the Marinera. The Hispanic proposal also suggests that European ballroom dances such as "Fandango" and "Cashuas" led to the creation of the Chilean Sajuriana, the Venezuelan Zambo, the Argentine Cielo Gaucho, the Mexican Tas-be, the Colombian Bambuco, the Ecuadorian Amor Fino, and the Peruvian Toro Mata. Different schools and dancing styles of

162-602: A succession of "fugas" (Escapes). Nowadays, the Marinera Limeña seems to be becoming overshadowed by the Marinera Norteña, because of its popular qualities. Nevertheless, the dance still has a small number of fans that dance it during October fests or during the anniversary of Lima . It acquired characteristics of the Marinera Limeña, and soon enough it became a new variation of the dance. The dance itself tends to be quick-paced and though not as "elegant" as

189-574: Is also applied to other box drums used in Latin American music , such as the Cuban cajón de rumba and the Mexican cajón de tapeo . Sheets of 13 to 19 mm ( 1 ⁄ 2 to 3 ⁄ 4 inch) thick wood are generally used for five sides of the box. A thinner sheet of plywood is nailed on as the sixth side, and acts as the striking surface or head. The striking surface of the cajón drum

216-473: Is commonly referred to as the tapa . A sound hole is cut on the back side. The modern cajón may have rubber feet, and has several screws at the top for adjusting percussive timbre . The cajón is the most widely used Afro-Peruvian musical instrument since the late 19th century. Enslaved people of west and central African origin in the Americas are considered to be the source of the cajón drum. Currently,

243-577: Is more sentimental than the first one. Caj%C3%B3n A cajón ( Spanish: [kaˈxon] ka- KHON ; "box, crate, drawer") is a box-shaped percussion instrument originally from Peru , played by slapping the front or rear faces (generally thin plywood ) with the hands, fingers, or sometimes implements such as brushes, mallets, or sticks. Cajóns are primarily played in Afro-Peruvian music (specifically música criolla ), but have made their way into flamenco as well. The term cajón

270-418: Is often used to accompany a solo acoustic guitar or piano . The cajón is becoming rapidly popular in blues , pop , rock , funk , world music , jazz , etc. The cajón is often used as a bass drum by bands instead of a full drum kit when performing in minimalist settings, as the cajón can simultaneously serve as both a bass drum and a seat for the drummer. Though occasionally played by some bands in place of

297-405: Is that enslaved people used boxes as musical instruments to subvert Spanish colonial bans on music in predominantly African areas, essentially disguising their instruments. While early 20th century versions of the festejo appeared to have been performed without the cajón, especially due to the influence of Perú Negro , a musical ensemble founded in 1969, the cajón began to be more important than

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324-568: The bodhrán , the cajón has become a popular instrument in the folk music of Ireland , where the quieter and higher-pitched bodhrán traditional frame drum serves the same purpose, and has a unique playing style. The player sits astride the box, tilting it at an angle while striking the head between their knees. The percussionist can play the sides with the top of their palms and fingers for additional sounds. Some harder hitting players use protective drumming gloves to protect their hands from bruises and blisters. Some percussionists attach

351-798: The War of the Pacific . According to the Peruvian historian Romulo Cuneo Vidal, the Zamacueca was itself a dance of rest during the era of the Inca Empire . Thus, coming from such a far natively Peruvian background, the dance is itself simply a derivation of an ancient Peruvian dance. Ancient pottery dating from the Pre-Columbian era called huacos depicted people resting in Zamacueca positions. The first Marinera to be written in musical notation

378-732: The Limeña, it can also be very stylish. Even though the dance originated in the Northern coasts of the country, it has become quite popular throughout Peru. It is thanks to that popularity that the Marinera is considered the National Dance of Peru, along with the Peruvian Waltz. In Marinera Norteña, the man wears shoes, while the woman dances completely barefoot . With constant practice women are even able to dance barefoot on extremely hot pavement and coarse, very rough surfaces, as

405-492: The Marinera Norteña, and the Marinera Serrana. Sometimes the Marinera is danced with her partner mounted on a Peruvian Paso (the horse dancing, and the chálan directing it). This Marinera is elegant and a little slow-paced in comparison to other variations. The dance can be interpreted in low or high tones. The Marinera of contrapunto or "canto de jarana" usually consists of three Marineras, Resbalosa (Slippery), and

432-603: The Marinera exist, based on location. There are Marinera dance academies all over Peru, and competitions are frequently held. The most important competition is the National Competition of the Marinera ( Concurso Nacional de Marinera ) held during the National Festival of the Marinera ( Festival Nacional de Marinera ), held in Trujillo , every January. The three main variations are the Marinera Limeña,

459-469: The Spanish shipping crates at their disposal. In port cities like Matanzas, Cuba , codfish shipping crates and small dresser drawers became similar instruments. Peruvian musician and ethnomusicologist Susana Baca recounts her mother's story that the cajón originated as "the box of the people who carried fruit and worked in the ports," putting it down to play on whenever they had a moment. Another theory

486-504: The cajón was spread to a much larger audience including Criollos . Given that the cajón comes from musicians who were enslaved in the Spanish colonial Americas, there are two complementary origin theories for the instrument. It is possible that the drum is a direct descendant of a number of boxlike musical instruments from west and central Africa, especially Angola , and the Antilles . These instruments were adapted by enslaved people from

513-462: The guitar and, indeed, became "a new symbol of Peruvian blackness". After a short 1977 visit to a diplomat’s party and a TV presentation in Lima along with Peruvian percussionist Caitro Soto , Spanish flamenco guitar player Paco de Lucía brought a cajón to Spain to use it in his own music, after being impressed by the rhythmic possibilities of the instrument. According to percussion historians, it

540-438: The instrument is common in musical performance throughout some of the Americas and Spain. The cajón was developed during the periods of slavery in coastal Peru. The instrument reached a peak in popularity by 1850, and by the end of the 19th century cajón players were experimenting with the design of the instrument by bending some of the planks in the cajón's body to alter the instrument's patterns of sound vibration. After slavery

567-422: The men it is typical to wear "chalan" clothing, with cotton poncho , or a suit and a wide straw hat. In some places they wear a white drill suit. Men wear black, glossy shoes. This Marinera is typical from the highland and mountain regions of Peru. It usually has a minor tone and is characterized by a slower movement. This marinera is also repeated twice, and then is followed by a "fuga de huayno". The second part

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594-419: The other hand, have intense practice on "zapateo" and the different steps of the dance until they master them. A marinera norteña dancer leaves aside social life, family reunions and resting hours in order to dedicate time to his/hers passion. It's mandatory that that women dance barefoot. It is unacceptable for them to wear sandals, canvas shoes, ballet slippers or any kind of footwear outside of practice. For

621-480: The pavement is hotter, because this motivates and encourages the barefoot female dancers to dance better and to conquer the Chalán and also because the public is astonished to see how the girls smile and enjoy as they burn the soles of their feet on the scorching hot ground. Besides high skills and constant rehearsals, marinera also demands great physical effort and sacrifices from the dancers, who must exercise and have

648-413: The soles of their feet become well seasoned and toughened up, something they are really proud of. The dancer must go to the dance floor wearing their best clothes but with bare feet, in the same way they did the rural northern girls of the nineteenth century. Being forced to dance barefoot on any surface without showing any discomfort, professional dancers should practice enough to develop thick calluses on

675-521: The soles of their feet." "The Marinera Norteña allows men to wear shoes, but women must dance barefoot, soon developing thick calluses on their feet, of which they are proud to show off." "It was in Trujillo that female dancers started the whole tradition of going barefoot—some even pride themselves on being able to put out cigarettes on their callused soles." Very often the Marinera Norteña presentations on open air are purposely scheduled at noon, when

702-788: Was Pepe Ébano who introduced the cajón into Spanish flamenco, later used with Paco de Lucía in the percussion of " Entre dos aguas ". In 2001, the cajón was declared National Heritage by the Peruvian National Institute of Culture . In 2014, the Organization of American States declared the cajón an "Instrument of Peru for the Americas". In the 2000s (decade), the cajón was heard extensively in Coastal Peruvian musical styles such as Tondero , Zamacueca and Peruvian Waltz , Spanish modern Flamenco and certain styles of modern Cuban Rumba . The modern cajón

729-614: Was La Concheperla composed by Abelardo Gamarra Rondó and José Alvarado, by Rosa Mercedes Ayarza de Morales in 1894... Peru claims that the dance is exclusively Peruvian. According to Peruvian historian Rómulo Cúneo Vidal, the zamacueca was itself a dance of rest during the times of the Inca Empire and pre-Inca cultures, supporting the proposal that Marinera is native to Peru as a derivation of traditional dance, as depicted in some ancient huacos of people resting in Zamacueca positions. Ballroom dances of Europe's Viceroyalty are also

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