Browse Titles - 45 results
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Music of the Miskito Indians of Honduras and Nicaragua
produced by David Blair Stiffler, fl. 1981-2014 (Folkways Records, 1981), 49 mins
Produced and recorded by David Blair Stiffler.
"First contacted from the outside world by Columbus on his fourth and final voyage in 1502, the Miskito Indians have been able to maintain their culture despite the influx of a variety of different races by absorbing and integrating newcomers into their society. Li...
"First contacted from the outside world by Columbus on his fourth and final voyage in 1502, the Miskito Indians have been able to maintain their culture despite the influx of a variety of different races by absorbing and integrating newcomers into their society. Li...
Sample
produced by David Blair Stiffler, fl. 1981-2014 (Folkways Records, 1981), 49 mins
Description
Produced and recorded by David Blair Stiffler.
"First contacted from the outside world by Columbus on his fourth and final voyage in 1502, the Miskito Indians have been able to maintain their culture despite the influx of a variety of different races by absorbing and integrating newcomers into their society. Living on the eastern coast of Honduras and Nicaragua that faces the Caribbean Ocean in a territory named after them, the Miskito have de... Produced and recorded by David Blair Stiffler.
"First contacted from the outside world by Columbus on his fourth and final voyage in 1502, the Miskito Indians have been able to maintain their culture despite the influx of a variety of different races by absorbing and integrating newcomers into their society. Living on the eastern coast of Honduras and Nicaragua that faces the Caribbean Ocean in a territory named after them, the Miskito have developed a way of life directly linked to their reliance on the abundant wildlife that inhabits the rivers and ocean as well as the land that they cultivate in the tropical forest and clearing in the interior...."
David Blair Stiffle
Producido y grabado por David Blair Stiffler.
"Contactados por primera vez por Colón en su cuarto y último viaje en 1502, los Miskito han sido capaces de mantener su cultura a pesar del influjo de una gran variedad de grupos étnicos a través de la absorción y la integración de los recién llegados dentro de su sociedad. Los Miskito viven en la costa occidental de Honduras y Nicaragua que da sobre el mar Caribe, en un territorio que toma su nombre de la misma tribu, y han desarrollado una manera de vida directamente ligada a la abundancia de vida salvaje que habita los ríos y el océano, a la vez que cultivan en sus tierras dentro del bosque tropical o en las praderas del interior..."
David Blair Stiffler
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"First contacted from the outside world by Columbus on his fourth and final voyage in 1502, the Miskito Indians have been able to maintain their culture despite the influx of a variety of different races by absorbing and integrating newcomers into their society. Living on the eastern coast of Honduras and Nicaragua that faces the Caribbean Ocean in a territory named after them, the Miskito have de... Produced and recorded by David Blair Stiffler.
"First contacted from the outside world by Columbus on his fourth and final voyage in 1502, the Miskito Indians have been able to maintain their culture despite the influx of a variety of different races by absorbing and integrating newcomers into their society. Living on the eastern coast of Honduras and Nicaragua that faces the Caribbean Ocean in a territory named after them, the Miskito have developed a way of life directly linked to their reliance on the abundant wildlife that inhabits the rivers and ocean as well as the land that they cultivate in the tropical forest and clearing in the interior...."
David Blair Stiffle
Producido y grabado por David Blair Stiffler.
"Contactados por primera vez por Colón en su cuarto y último viaje en 1502, los Miskito han sido capaces de mantener su cultura a pesar del influjo de una gran variedad de grupos étnicos a través de la absorción y la integración de los recién llegados dentro de su sociedad. Los Miskito viven en la costa occidental de Honduras y Nicaragua que da sobre el mar Caribe, en un territorio que toma su nombre de la misma tribu, y han desarrollado una manera de vida directamente ligada a la abundancia de vida salvaje que habita los ríos y el océano, a la vez que cultivan en sus tierras dentro del bosque tropical o en las praderas del interior..."
David Blair Stiffler
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Field of Study
World Music
Content Type
Music recording
Contributor
David Blair Stiffler, fl. 1981-2014
Date Published / Released
1981
Publisher
Folkways Records
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Music of the Tarascan Indians of Mexico: Music of Michoaca and Mestizo Country
produced by Henrietta Yurchenco, 1916-2007 (Folkways Records, 1970), 47 mins
"When the first Spaniards arrived at Tzintzuntzán, the ancient Tarascan capital, they were entertained, so the worthy Spanish chroniclers of the 16th century tell us, with an all-night fiesta of dances and songs ‘sad enough to have risen from hell.’ And no wonder! It was no time for gaiety, for a dire fate...
Sample
produced by Henrietta Yurchenco, 1916-2007 (Folkways Records, 1970), 47 mins
Description
"When the first Spaniards arrived at Tzintzuntzán, the ancient Tarascan capital, they were entertained, so the worthy Spanish chroniclers of the 16th century tell us, with an all-night fiesta of dances and songs ‘sad enough to have risen from hell.’ And no wonder! It was no time for gaiety, for a dire fate already had befallen the Aztec capital a few hundred miles away. The pale-face ‘guests’ had come on a mission of peace. Four hund...
"When the first Spaniards arrived at Tzintzuntzán, the ancient Tarascan capital, they were entertained, so the worthy Spanish chroniclers of the 16th century tell us, with an all-night fiesta of dances and songs ‘sad enough to have risen from hell.’ And no wonder! It was no time for gaiety, for a dire fate already had befallen the Aztec capital a few hundred miles away. The pale-face ‘guests’ had come on a mission of peace. Four hundred years have passed since that fateful time. Again in 1965 the Tarascans were invaded by foreigners: this time, however, they were friendly ones, in search of music..."
Henrietta Yurchenco
"Cuando los españoles llegaron a Tzintzuntzan, la antigua capital del pueblo Tarascan, fueron entretenidos, según nos cuentas los valiosísimos cronistas españoles del siglo XVI, por una prolongada celebración en la cual escucharon danzas y canciones ‘suficientemente tristes como para haber subido del mismo infierno.’ ¡No era para menos! No eran tiempos para alegrías, porque una funesta ruina acababa de golpear en la capital azteca a solo unas millas de distancia. Los ‘invitados’ de piel clara habían venido en una misión de paz. Cuatrocientos años han pasado desde aquellos fatídicos días. Una vez más, en 1965, los tarascan fueron invadidos por extranjeros: esta vez, sin embargo, eran amigables y venían en búsqueda de su música..."
Henrietta Yurchenco
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Henrietta Yurchenco
"Cuando los españoles llegaron a Tzintzuntzan, la antigua capital del pueblo Tarascan, fueron entretenidos, según nos cuentas los valiosísimos cronistas españoles del siglo XVI, por una prolongada celebración en la cual escucharon danzas y canciones ‘suficientemente tristes como para haber subido del mismo infierno.’ ¡No era para menos! No eran tiempos para alegrías, porque una funesta ruina acababa de golpear en la capital azteca a solo unas millas de distancia. Los ‘invitados’ de piel clara habían venido en una misión de paz. Cuatrocientos años han pasado desde aquellos fatídicos días. Una vez más, en 1965, los tarascan fueron invadidos por extranjeros: esta vez, sin embargo, eran amigables y venían en búsqueda de su música..."
Henrietta Yurchenco
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Field of Study
World Music
Content Type
Music recording
Contributor
Henrietta Yurchenco, 1916-2007
Date Published / Released
1970
Publisher
Folkways Records
×
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Musical Traditions of St. Lucia, West Indies
produced by Manfred Kremser, Jocelyne Guilbault, fl. 1984 and Embert Charles (Smithsonian Folkways Recordings, 1993), 1 hour 10 mins
The rich and varied musical traditions of the Creole-speaking peoples of the Lesser Antilles islands are practically unknown outside the region. This album of the music of St. Lucia is an introduction to a rare and living musical heritage. Intricate and driving rhythms and moving melodies with French, English, a...
Sample
produced by Manfred Kremser, Jocelyne Guilbault, fl. 1984 and Embert Charles (Smithsonian Folkways Recordings, 1993), 1 hour 10 mins
Description
The rich and varied musical traditions of the Creole-speaking peoples of the Lesser Antilles islands are practically unknown outside the region. This album of the music of St. Lucia is an introduction to a rare and living musical heritage. Intricate and driving rhythms and moving melodies with French, English, and African echoes all come together in the traditional music of St. Lucia. Recorded between 1975 and 1987. 32 tracks. "Fascinating c...
The rich and varied musical traditions of the Creole-speaking peoples of the Lesser Antilles islands are practically unknown outside the region. This album of the music of St. Lucia is an introduction to a rare and living musical heritage. Intricate and driving rhythms and moving melodies with French, English, and African echoes all come together in the traditional music of St. Lucia. Recorded between 1975 and 1987. 32 tracks. "Fascinating collection of indigenous musical styles." — Chicago Tribune
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Field of Study
World Music
Content Type
Music recording
Contributor
Manfred Kremser, Jocelyne Guilbault, fl. 1984, Embert Charles
Date Published / Released
1993
Publisher
Smithsonian Folkways Recordings
Tracks
×
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Palicour Indians of the Arucua River in Brazil
produced by David Blair Stiffler, fl. 1981-2014 (Folkways Records, 1981), 25 mins
"The Palicuour of the Arawak family now living along the Oyapok river in two locations, one in French Guiana and the other in Brazil have become acculturated and integrated into the Creole-society. They still maintain and practice distinct cultural traits that make them unique from other indigenous peoples in Sou...
Sample
produced by David Blair Stiffler, fl. 1981-2014 (Folkways Records, 1981), 25 mins
Description
"The Palicuour of the Arawak family now living along the Oyapok river in two locations, one in French Guiana and the other in Brazil have become acculturated and integrated into the Creole-society. They still maintain and practice distinct cultural traits that make them unique from other indigenous peoples in South America..."
David Blair Stiffler
"Los Palicours, pertenecientes a... "The Palicuour of the Arawak family now living along the Oyapok river in two locations, one in French Guiana and the other in Brazil have become acculturated and integrated into the Creole-society. They still maintain and practice distinct cultural traits that make them unique from other indigenous peoples in South America..."
David Blair Stiffler
"Los Palicours, pertenecientes a la familia Arawak y que viven actualmente a lo largo del río Oyapok en dos localidades, una en la Guyana Francesa y la otra en el Brasil, son comunidades aculturadas e integradas a la sociedad criolla. Ellos aún mantienen y practican distintas tradiciones culturales que los hacen únicos y diferentes de otras sociedades indígenas de América del Sur..."
David Blair Stiffler
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David Blair Stiffler
"Los Palicours, pertenecientes a... "The Palicuour of the Arawak family now living along the Oyapok river in two locations, one in French Guiana and the other in Brazil have become acculturated and integrated into the Creole-society. They still maintain and practice distinct cultural traits that make them unique from other indigenous peoples in South America..."
David Blair Stiffler
"Los Palicours, pertenecientes a la familia Arawak y que viven actualmente a lo largo del río Oyapok en dos localidades, una en la Guyana Francesa y la otra en el Brasil, son comunidades aculturadas e integradas a la sociedad criolla. Ellos aún mantienen y practican distintas tradiciones culturales que los hacen únicos y diferentes de otras sociedades indígenas de América del Sur..."
David Blair Stiffler
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Field of Study
World Music
Content Type
Music recording
Contributor
David Blair Stiffler, fl. 1981-2014
Date Published / Released
1981
Publisher
Folkways Records
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The Pipil Indians of El Salvador
produced by David Blair Stiffler, fl. 1981-2014 (Folkways Records, 1983), 40 mins
Produced and recorded by David Blair Stiffler.
"The Pipils are descendants of the Aztecs of Mexico and today are the last pure-blooded Indians living in the country of El Salvador. Aside from the Pipils there are few remnant groups of the Lenca, Pokoman, Chorti and Ulva who live throughout the country....In thi...
"The Pipils are descendants of the Aztecs of Mexico and today are the last pure-blooded Indians living in the country of El Salvador. Aside from the Pipils there are few remnant groups of the Lenca, Pokoman, Chorti and Ulva who live throughout the country....In thi...
Sample
produced by David Blair Stiffler, fl. 1981-2014 (Folkways Records, 1983), 40 mins
Description
Produced and recorded by David Blair Stiffler.
"The Pipils are descendants of the Aztecs of Mexico and today are the last pure-blooded Indians living in the country of El Salvador. Aside from the Pipils there are few remnant groups of the Lenca, Pokoman, Chorti and Ulva who live throughout the country....In this album some representation of the Pipil culture as well as the latinized traditional, Salvadorean folk melodies, that have their roots... Produced and recorded by David Blair Stiffler.
"The Pipils are descendants of the Aztecs of Mexico and today are the last pure-blooded Indians living in the country of El Salvador. Aside from the Pipils there are few remnant groups of the Lenca, Pokoman, Chorti and Ulva who live throughout the country....In this album some representation of the Pipil culture as well as the latinized traditional, Salvadorean folk melodies, that have their roots in the Indian and Spanish religious ceremonies will be presented..."
David Blair Stiffler
Producido y grabado por David Blair Stiffler.
"Los Pipil son descendientes de los Aztecas mexicanos y son hoy por hoy los últimos indígenas de sangre pura que viven en El Salvador. Aparte de los Pipil todavía existen unos pocos grupos remanentes de las tribus Lenca, Pokoman, Chorti y Ulva que viven a lo largo del país.... En este álbum se presentan algunas tradiciones de la cultura Pipil, así como melodías folclóricas tradicionales salvadoreñas cuyas raíces se encuentran tanto en ceremonias religiosas indígenas como en las españolas..."
David Blair Stiffler
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"The Pipils are descendants of the Aztecs of Mexico and today are the last pure-blooded Indians living in the country of El Salvador. Aside from the Pipils there are few remnant groups of the Lenca, Pokoman, Chorti and Ulva who live throughout the country....In this album some representation of the Pipil culture as well as the latinized traditional, Salvadorean folk melodies, that have their roots... Produced and recorded by David Blair Stiffler.
"The Pipils are descendants of the Aztecs of Mexico and today are the last pure-blooded Indians living in the country of El Salvador. Aside from the Pipils there are few remnant groups of the Lenca, Pokoman, Chorti and Ulva who live throughout the country....In this album some representation of the Pipil culture as well as the latinized traditional, Salvadorean folk melodies, that have their roots in the Indian and Spanish religious ceremonies will be presented..."
David Blair Stiffler
Producido y grabado por David Blair Stiffler.
"Los Pipil son descendientes de los Aztecas mexicanos y son hoy por hoy los últimos indígenas de sangre pura que viven en El Salvador. Aparte de los Pipil todavía existen unos pocos grupos remanentes de las tribus Lenca, Pokoman, Chorti y Ulva que viven a lo largo del país.... En este álbum se presentan algunas tradiciones de la cultura Pipil, así como melodías folclóricas tradicionales salvadoreñas cuyas raíces se encuentran tanto en ceremonias religiosas indígenas como en las españolas..."
David Blair Stiffler
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Field of Study
World Music
Content Type
Music recording
Contributor
David Blair Stiffler, fl. 1981-2014
Date Published / Released
1983
Publisher
Folkways Records
Tracks
×
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Por Eso Luchamos
(Paredon Records, 1985), 38 mins
Cutumay Camones took its name from a town located in the Santa Ana province, site of a pitched battle that took place seven days after the beginning of the FMLN’s offensive of January 10, 1981. The group was formed in May 1982, taking the name in homage to the example and sacrifice of those who died. Cutumay C...
Sample
(Paredon Records, 1985), 38 mins
Description
Cutumay Camones took its name from a town located in the Santa Ana province, site of a pitched battle that took place seven days after the beginning of the FMLN’s offensive of January 10, 1981. The group was formed in May 1982, taking the name in homage to the example and sacrifice of those who died. Cutumay Camones’s struggle has been one of recovering the cultural heritage and traditions of El Salvador, which has been lost or destroyed ov...
Cutumay Camones took its name from a town located in the Santa Ana province, site of a pitched battle that took place seven days after the beginning of the FMLN’s offensive of January 10, 1981. The group was formed in May 1982, taking the name in homage to the example and sacrifice of those who died. Cutumay Camones’s struggle has been one of recovering the cultural heritage and traditions of El Salvador, which has been lost or destroyed over centuries of exploitation and repression.
Cutumay Camones tomó nombre de un pueblo localizado en la provincia de Santa Ana donde tuvo lugar una batalla campal siete días después de la ofensiva inicial del FMLN, el 10 de enero de 1981. El grupo fue formado en mayo de 1982, tomando el nombre como una manera de hacer homenaje a los caídos en batalla. El grupo lucha por la recuperación de la herencia cultural y las tradiciones de las gentes salvadoreñas que se ha perdido o ha sido destruido tras siglos de explotación y represión.
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Cutumay Camones tomó nombre de un pueblo localizado en la provincia de Santa Ana donde tuvo lugar una batalla campal siete días después de la ofensiva inicial del FMLN, el 10 de enero de 1981. El grupo fue formado en mayo de 1982, tomando el nombre como una manera de hacer homenaje a los caídos en batalla. El grupo lucha por la recuperación de la herencia cultural y las tradiciones de las gentes salvadoreñas que se ha perdido o ha sido destruido tras siglos de explotación y represión.
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Field of Study
World Music
Content Type
Music recording
Date Published / Released
1985
Publisher
Paredon Records
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Puerto Rico: Algo Se Quema Allá A Fuera! (Something Is Burning Out There!)
(Paredon Records, 1975), 36 mins
"Through these songs we can see the pain, desperation, and courage, of we who are oppressed by this capitalist system. The oppressors have us in a strangle-hold, but they have not succeeded in shutting us up. But, we will not shut up! We will keep on singing, denouncing the physical and mental tortures that are...
Sample
(Paredon Records, 1975), 36 mins
Description
"Through these songs we can see the pain, desperation, and courage, of we who are oppressed by this capitalist system. The oppressors have us in a strangle-hold, but they have not succeeded in shutting us up. But, we will not shut up! We will keep on singing, denouncing the physical and mental tortures that are occurring here in our America. I sing to the peasant, to the student and also to the tycoon, with rebellion, without patience, and wit...
"Through these songs we can see the pain, desperation, and courage, of we who are oppressed by this capitalist system. The oppressors have us in a strangle-hold, but they have not succeeded in shutting us up. But, we will not shut up! We will keep on singing, denouncing the physical and mental tortures that are occurring here in our America. I sing to the peasant, to the student and also to the tycoon, with rebellion, without patience, and without firearms. My weapon is my voice, my weapon is the sadness of being born and raised in a colony: Puerto Rico. We know that the sun is rising for our America, and that those who are guilty of our imprisonment are already facing the consequences, because something is burning out there!"
"Por medio de estas canciones podemos ver el llanto, la desesperación y la valentía, de los que estamos oprimidos por este sistema capitalista. Opresión que nos ahoga, pero no al extremo de callarnos la boca. No, no callaremos, seguiremos cantando, denunciando las troturas físicas y mentales que ocurren en nuestra América. Yo le canto al campesino, al estudiante y al magnate, con rebeldía, sin paciencia, sin armas de fuego. Mi arma es mi voz, mi arma es la tristeza de nacer y criarse en una colonia: Puerto Rico. Sabemos que el sol está saliendo para nuestra América y que aquellos culpables de nuestro encierro ya se atendrán a las consecuencias porque algo se quema allá afuera!"
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"Por medio de estas canciones podemos ver el llanto, la desesperación y la valentía, de los que estamos oprimidos por este sistema capitalista. Opresión que nos ahoga, pero no al extremo de callarnos la boca. No, no callaremos, seguiremos cantando, denunciando las troturas físicas y mentales que ocurren en nuestra América. Yo le canto al campesino, al estudiante y al magnate, con rebeldía, sin paciencia, sin armas de fuego. Mi arma es mi voz, mi arma es la tristeza de nacer y criarse en una colonia: Puerto Rico. Sabemos que el sol está saliendo para nuestra América y que aquellos culpables de nuestro encierro ya se atendrán a las consecuencias porque algo se quema allá afuera!"
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Field of Study
World Music
Content Type
Music recording
Date Published / Released
1975
Publisher
Paredon Records
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Selk'nam (Ona) Chants of Tierra del Fuego, Argentina
produced by Anne MacKaye Chapman (Folkways Records, 1972), 1 hour 43 mins
"These records comprise 47 chants sung by the last true Indian of the Selk’nam (Ona) group, Lola Kiepja. The Selk’nam had no musical instruments. These chants are sung without any sort of accompaniment. The Selk’nam were the former inhabitants of the largest island of Tierra del Fuego which is located jus...
Sample
produced by Anne MacKaye Chapman (Folkways Records, 1972), 1 hour 43 mins
Description
"These records comprise 47 chants sung by the last true Indian of the Selk’nam (Ona) group, Lola Kiepja. The Selk’nam had no musical instruments. These chants are sung without any sort of accompaniment. The Selk’nam were the former inhabitants of the largest island of Tierra del Fuego which is located just south of the Straits of Magellan. When these recordings were taped in 1966, Lola was the only one of ten surviving people of Indian...
"These records comprise 47 chants sung by the last true Indian of the Selk’nam (Ona) group, Lola Kiepja. The Selk’nam had no musical instruments. These chants are sung without any sort of accompaniment. The Selk’nam were the former inhabitants of the largest island of Tierra del Fuego which is located just south of the Straits of Magellan. When these recordings were taped in 1966, Lola was the only one of ten surviving people of Indian descent who was still a Selk’nam. She was the eldest of the ten..."
Anne Chapman
"Esta grabación recoge 47 cantos interpretados por el último miembro verdadero del grupo Selk’nam, Lola Kiepja. Los Selk’nam no poseían instrumentos musicales, por eso estos cantos no tienen ninguna clase de acompañamiento. Los Selk’nam eran los habitantes originales de la isla más extensa de la Tierra del Fuego, localizada un poco al sur del Estrecho de Magallanes. Cuando estas grabaciones fueron recogidas en 1966, Lola era la única entre diez sobrevivientes de sangre indígena que todavía era una Selk’nam. Ella era la más anciana de todas..."
Anne Chapman
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Anne Chapman
"Esta grabación recoge 47 cantos interpretados por el último miembro verdadero del grupo Selk’nam, Lola Kiepja. Los Selk’nam no poseían instrumentos musicales, por eso estos cantos no tienen ninguna clase de acompañamiento. Los Selk’nam eran los habitantes originales de la isla más extensa de la Tierra del Fuego, localizada un poco al sur del Estrecho de Magallanes. Cuando estas grabaciones fueron recogidas en 1966, Lola era la única entre diez sobrevivientes de sangre indígena que todavía era una Selk’nam. Ella era la más anciana de todas..."
Anne Chapman
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Field of Study
World Music
Content Type
Music recording
Contributor
Anne MacKaye Chapman
Date Published / Released
1972
Publisher
Folkways Records
×
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Spiritual Baptist Music of Trinidad
produced by Stephen D. Glazier (Folkways Records, 1980), 34 mins
Sample
produced by Stephen D. Glazier (Folkways Records, 1980), 34 mins
Field of Study
World Music
Content Type
Music recording
Contributor
Stephen D. Glazier
Date Published / Released
1980
Publisher
Folkways Records
Tracks
×
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Tengo Puerto Rico en Mi Corazón
(Paredon Records, 1971), 41 mins
"I don’t want anyone to listen to this record until they’ve put some truths into their heads. Because without these truths, you can never really understand this record on anything that comes out of a patriot’s mouth. Puerto Rico is a colony of the United States. Not a colony in a vague definition applied...
Sample
(Paredon Records, 1971), 41 mins
Description
"I don’t want anyone to listen to this record until they’ve put some truths into their heads. Because without these truths, you can never really understand this record on anything that comes out of a patriot’s mouth. Puerto Rico is a colony of the United States. Not a colony in a vague definition applied to the Latin American countries, not a colony like some calm suburbia of New York. It is a colony in the traditional sense, politicall...
"I don’t want anyone to listen to this record until they’ve put some truths into their heads. Because without these truths, you can never really understand this record on anything that comes out of a patriot’s mouth. Puerto Rico is a colony of the United States. Not a colony in a vague definition applied to the Latin American countries, not a colony like some calm suburbia of New York. It is a colony in the traditional sense, politically, socially and economically..."
Alfredo López
"No quiero que nadie escuche este disco sin antes haber puesto algunas verdades en su cabeza. Porque sin estas verdades, nunca podrán entender verdaderamente ni este disco ni cualquier otro que salga de la inspiración de un patriota. Puerto Rico es una colonia de Estados Unidos. No una colonia en la vaga definición que se aplica a otros países latinoamericanos, no una colonia, como algunos claman, que es un suburbio de Nueva York. Es una colonia en el sentido tradicional, político, social y económico..."
Alfredo López
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Alfredo López
"No quiero que nadie escuche este disco sin antes haber puesto algunas verdades en su cabeza. Porque sin estas verdades, nunca podrán entender verdaderamente ni este disco ni cualquier otro que salga de la inspiración de un patriota. Puerto Rico es una colonia de Estados Unidos. No una colonia en la vaga definición que se aplica a otros países latinoamericanos, no una colonia, como algunos claman, que es un suburbio de Nueva York. Es una colonia en el sentido tradicional, político, social y económico..."
Alfredo López
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Field of Study
World Music
Content Type
Music recording
Date Published / Released
1971
Publisher
Paredon Records
×
