El Africa antigua decía: ¡Escucha! Todo habla. Todo es palabra. Todo trata de comunicarnos algo, un conocimiento o un estado indefinible del ser, misteriosamente enriquecedor y constructivo. Aprende a escuchar el silencio y descubrirás que es música!
Ancient Africa said: Listen! Everything speaks. Everything is a word. Everything is trying to communicate some knowledge or an indefinable state of being mysteriously enriched and constructed. Learn to listen to the silence and you will discover that it is music.
Amadou Hampaté Ba
Drums have voices, they speak among themselves. This close connection between rhythm and personal and collective identity is clearly represented in Candombe music.
Candombe originally developed from African drum rituals, ceremonies and dance practised by the first Africans transported to Montevideo. The dance rituals later developed as a fusion of the Bantú and Catholic religions, the result of Spanish colonial rule that is still seen in the Candombe of today. Candombe is a key element of Uruguayan identity and shows the powerful imprint that African slavery left on Montevideo when it first arrived in the 17th century. Even more surprising is the size of the Afro-Uruguayan community that makes up less than 3% of the overall population in Uruguay.
On the 12th December, 1842 slavery was abolished in Uruguay and the many tribes who had grouped together based on ethnicity and dialect formed new meeting places that represented their nation. These different nations included the Congo, Angola, Mozambique and Bengal to name a few. These meeting places or salas hosted traditional African celebrations: a king and queen presided over the events and much of the dance and choreography mocked elements of colonial culture.
There are 3 main drums that embody the Candombe style: the piano, the chico and repique. The piano is the basic anchor, the chico functions as a guide for the whole group and the repique constantly improvises. In all this structure the ear, intuition and technique of each player are fundamental to the drumming dialogue. Si se pierde el chico ¡al diablo con el candombe! If the chico is lost Candombe goes to the devil! (Popular saying)
A comparsa or group can consist of up to 70 drummers and each group has their own distinct Candombe rhythm. An experienced ear can immediately identify a group or neighbourhood based on its distinct rhythmic style. Truly great comparsas include Yambo Kenia, Morenada and the magnificent Sarabanda.
There are a number of important characters that form part of a Candombe group. The gramilleroor witch doctor is a key figure. During the period following the abolition of slavery the witch doctor acted as minister to the King and Queen during official receptions. Impeccably dressed, and with a false white beard and bag full of medicinal herbs, his role embodies that of the magician and the doctor. His advanced age is represented by constant convulsions and leaning on his walking stick, in stark contrast to the drummers and dancers around him.
La mama vieja or old mother dresses in a way that combines tribal customs with Spanish colonial attire. Her hoop earrings, white apron and coloured handkerchief in the hair are symbols of her days as a maid. Loving, dignified and getting on in years, she carries a fan that she flutters in a flirtatious manner while circling gently throughout her journey.
Other important figures of the modern day comparsa include lavedette, the principal dancer – usually a strikingly beautiful young woman, and her troupe of dancing girls that dance their unique Candombe style behind the drummers. Each group has their own distinctive flag and corresponding colours that adorn the drums and costumes.
Rehearsals for Carnaval begin in late November of every year and continue throughout the summer. The Candombe groups of today compete for the prize of best comparsa. Small shows are held outdoors on raised stages throughout different neighbourhoods. Known as tablados, these smaller scale presentations are a cultural icon of the Uruguayan summer and highlight the constant sound of the drums that fill the streets during the long hot summer nights.
In February there are two more events that highlight the Candombe movement. El desfileor parade showcases the groups in all their colour and glory. The main street of Montevideo is closed in the early afternoon and the whole city turns out to watch a spectacle that continues until the early hours of the morning. Then there are Las Llamadasor the Callings that build on the ancient drum rhythms of the past. This more traditional parade is held in El Barrio Sur. The South neighbourhood is traditionally Afro-Uruguayan and it is here that the heart of Candombe lies. Finally, the culmination is held in the open air amphitheatre el teatro de verano (the Summer Theatre). These final rounds are played out on stage and the overall winner is announced for the year. Then the sounds of the drums disappear throughout the winter, and appear again to herald the Uruguayan summer. ¡Viva Candombe! Long live Candombe.
References
Carámbula, R. (1995) El candombe. Buenos Aires: Ediciones del Sol.
Chirimini, T.O. & Varese, J.A. (1996) Memorias del tamboril. Montevideo: Editorial Latina.
For more information about Candombe follow the links: Pedro Figari and Candombe art
