The other major musical genre in Colombia is Vallenato. Like cumbia, vallenato is north Atlantic coastal music. It emerged in the early twentieth century in a city known as Valledupar. There are different theories as to how vallenato was born. In an article by Daniel Pizano, vallenato player Tomas Dario claims that when the accordion was introduced to Colombia, peasants in Valledupar would play music with only the accordion. According to him, it wasn't until later that the other two principal instruments, the caja and guacharaca, were included in this music (Pizano 1). However, it is most commonly stated that Vallenato music was first played with a guitar, caja, and guacharaca and no accordion. It was not until the accordion was introduced that Vallenato became nationally known.
As stated above, the main vallenato instruments are the accordion, the caja, and the guacharaca. Originally, the caja was a small double headed drum held on one knee and played with two sticks. Luis Moya, a student of Vallenato and visiting professor at the University of Illinois at Chicago, states that today, a caja can be constructed out of wood or fiberglass with chromed metal rings and bolts (Moya November 22). The guacharaca is a scraper usually made of a special palm tree, somewhat similar to sugar cane. The accordion is either the German accordion or the Italian accordion. The German accordion is the "button" accordion, while the Italian accordion is the small keyboard, or piano accordion. The accordion is played in syncopation against the steady beat of the guacharaca. The drummer, the caja or bongo player, has a specific rhythm but is usually free to improvise. This traditional vallenato ensemble has changed only slightly over the years. In many places, the llamador has replaced the caja. (New Grove Dictionary 574)
Four basic rhythms grew out of Vallenato. The first, el son, is the slowest and perhaps the most complex. Coordinating the vallenato ensemble is extremely important when attempting to keep the rhythm and melody. One of the main characteristics of el son is that the accordion player appears to carry two performances in the melody. One in the right hand and one in the left hand on the keyboard (Del Castillo 2).
The next basic rhythm is el paseo. It is the most played and marketed rhythm of vallenato. Unlike the son whose main instrument is the accordion, el paseo's main instrument is the guacharaca. Most of the time, the only musical element in el paseo is that of the singer and solo guacharaca player. There are typically two types of paseo; the slow and fast paseo. The slow paseo is one mentioned above where the guacharaca is the main instrument. The lyrics to the slow paseo are usually romantic. The fast paseo, sometimes confused as a merengue, is quicker and rarely romantic. Generally, the paseo uses the accordion to bring more energy and a faster beat to the song.
The next rhythm, the merengue, is similar to the Dominican Republican merengue. Like the paseo, it is also well marketed in the recording industry. It is most commonly heard in a region below the Magdalena river. The merengue uses all the instruments in the vallenato ensemble but, like the fast paseo, uses the accordion to speed up the rhythm. The last rhythm is the puya. Puya is the fastest rhythm of all and also the most complex. The accordion, caja, and guacharaca need to be played with a lot of skill due to its speed (Castillo 2).
Unlike cumbia, vallenato rhythms have no choreographed dance that accompanies it. People tend to dance to these rhythms in both pairs and solo. Generally it is characterized by a moving of hips and stepping of feet, one foot in front of another.
The son, paseo, merengue and puya also have characteristic lyrics of vallenato. Son, paseos, and merengue carry a lot of romantic lyrics, references to friends, and their town and culture. All rhythms, including puya, have what the folk people call "piquerias." Piquerias are lyrics of satire and ridicule to other vallenato singers. It was through these piquerias that musicians obtained fame and were seen as popular figures. Vallenato singers would compose piquerias and the players would perform ridiculing each other's style of singing, occupation, and relationships. Many figures including Rafael Escalona and Francisco el "Hombre" gained fame this way (Pizano 2).
In the beginning of the 1970's, vallenato was becoming so popular that it began to replace cumbia as a popular music. Granted, at this time cumbia was becoming globally recognized. In the rural areas, however, vallenato bands predominated. One of the reasons vallenato appealed to many was its lyrics. They are of everyday life, romances, heart breaks, work, and even school. One of my favorite vallenato songs by Rafael Escalona is about a starving college student who realizes the value of home-cooked meals after spending a year away from home (Escalona). So relevant to my present state! And it was like this for many people. Vallenatos have the ability to capture emotions, bringing a deeper meaning for the people who listen and compose it. Vallenatos also hold a lot of poetical elements. Rafael Escalona's "Casa en el Aire" is one example. This particular song has a lot of figurative elements that go into "building a house in the sky" for a certain young lady so that only those men capable of flying (the best men) can visit or even talk to her (Escalona). In addition to its poetic elements, this song demonstrates a cultural aspect of the people of Valledupar and how a father wants to protect his daughter from "señorita-chasing" men.
Contrasted to cumbia, which is mainly instrumental, vallenato music had lyrics that told stories of the rural life. The lyrics ranged from stories of romance to stories of suffering economic hardships. Cumbia allowed people to forget their problems since it focused so much on having a good time. Vallenato, on the other hand, brought reality into its music, but at the same time showing hope for a good future. Another song by Rafael Escalona entitled "Mala Suerte," discusses the struggle a particular worker is going through to make ends meet. In the song, the narrator talks of his "suffering" and "bad luck," but also looks kindly at the future as he sets off to move to another city (Escalona). This element of hope and a better future is part of many vallenato songs. The rhythm and beats are fast enough so one can dance to them, yet sometimes the lyrics are very solemn. Even when "hope" was not stated directly, the fact that the rhythm carried a "joyful" beat allowed listeners to gain a sense of optimism for a better future.
According to a video entitled "Shotguns and Accordions: Music of the Marijuana Growing Regions of Colombia," in the 1960's, Colombian plantations in the cienaga began to dwindle. This opened doors for marijuana and cocaine drug trade (Shotguns and Accordions). The vallenato lyrics started to take on new motifs. Along with the everyday themes, vallenatos began praising the contraband business. One particular song by Escalona, "Almirante Padilla," reveals the life a drug trafficker, "El Tite," who had been caught contrabanding illegal narcotics. The pain of El Tite Socarra is evident as Escalona questions what El Tite will now do when his entire life had been spent mastering the contraband business (Escalona).
One of the main reasons why vallenato is associated with the drug traffickers is because the drug industry helped in financing vallenato performance groups. According to Luis L. Moya, a student of vallenato music, around the 1970's the wealthy elite, usually those associated with contraband, would lavishly spend their extra bucks bidding on the best vallenato groups. Because the drug culture was a symbol of luxury, womanizing, and wealth, more people appealed and idolized the drug dealers, leading to an infiltration of drug dealers into the folklore scene (Moya, November 22). Juanita Darling, author of an article in the LA Times called "Colombia Strikes A New Note," claims "drug barons have offered singers as much as ten thousand dollars to mention their names on a record- an honor usually reserved for old friends or revered masters of vallenato" (Darling A6). The drug traffickers would also rig the yearly vallenato festival held in Valledupar. According to "Shotguns and Accordions...", there were some years where only singers associated with the drug dealers would win the festivals competitions, allowing them opportunities in the recording industry. Those that were not associated in drug trade had no chance of winning even if they were the best of the competitors (Shotguns and Accordions...). I should note, however, that an article in The Nation claims "Shotguns and Accordions..." exaggerated on how badly the vallenato festivals really were. According to the article, few festivals were really rigged (Santero 3). Moreover, Darling, the author for the LA Times, also claimed that the lyrics associated with drug trade were also rarely seen. Most of the songs people know as vallenato are the romantic vallenatos (Darling A6).
One of the biggest events for vallenato artists was El Festival de la Leyenda Vallenata," the annual Vallenato festival held in Valledupar in April. This festival began in 1968 when a woman of the name Consuelo Araujonoguera presented the idea of a vallenato festival to Dr. Alfonso Lopez Michelsen, the governor of Cesar at the time. The idea was then made a reality since Michelsen himself wanted a way of showing the rest of Colombia and the world the greatness of vallenato. The vallenato festival was first part of other festivals, such as the "Fiestas del Milagro," held in honor of the city Nuestra Señora Virgen del Rosario. Eventually, the vallenatos musicians made their own festival. These festivals are the central forum of many traditional and modern composers such as Rafael Escalona who then inspired modern figures like Carlos Vives (Riveira 2).
As one may suspect, a big difference between cumbia and vallenato is how vallenato defines Colombian national identity. While cumbia celebrates life and applauds Colombian diversity, vallenato acknowledges the current and past hardships through lyrics. Colombia has had a bad reputation around the world as being one of the most violent and crime infested places of the world. While this may be true for some areas of the country, the other part of Colombia is rarely seen. Vallenato music illustrates all aspects of Colombia. From the drug trafficking of powerful cartels, to the innocent romance of teenagers. Whether the fundamental theme of the song is positive or negative, the essence of the vallenato is that of hope. Escalona's "Casa en El Aire" not only shows a gentlemen's great love for a young lady, but it also reveals plans of living a future together in happiness. "Mala Suerte" is yet another example of a song that demonstrates an unfortunate person, whom, despite his suffering, looks on to the future optimistically. This is yet another motif of the Colombian people. They may suffer, they may ache, and they may hurt, but they are determined to better their lives and surpass challenging obstacles.
Today, vallenatos are still very popular. In the late 1970's vallenato underwent a boom of commercialization. The vallenato ensembles of three instruments scaled up to a small conjunto of four to five musicians playing not only the accordion, guacharaca, and drums, but also including bass, timbales, congas, keyboards, electric guitars and back up singers (Wade 15). In a process called "folklorization, modern composers such as Carlos Vives brought this ensemble to vallenato in attempt to get back its roots. In the early 1990's, Vives played a lead role in a dramatized serial life of Rafael Escalona. With this, Vives released a song album of Escalona's material with "unforeseen success." This lead Vives into releasing more records, rearranging classic vallenato tunes with jazz, reggae and rock influences. These records became a number one hit record label in Colombia.
Interestingly enough, Vives consciously mixes tradition and modernity. Musically, he brought back the traditional classic sounds of vallenato, yet visually, he appealed to the younger, more modern generation, with his long hair, leather, and denim. During his performances, his lead accordionist stands next to him wearing the "traditional" garb of the vallenato festivals. Again, this demonstrates Colombia's attempt in unifying the nation. In cumbia, it attempts to bring the races together, and in vallenato, Colombian music unifies the modern youth and its predeceasing generation.
Thus, it is through music that Colombia can share with the world the stories of its people and history. Through cumbia, Colombians demonstrate to the world their strong unity, their love for life and desire to maintain it as entertaining and joyful as possible. Vallenato songs, on the other hand, tell intimate stories of the people. They describe their romances, desires, and suffering. At the same time, however, vallenatos demonstrate the hope and optimism for a positive future when the present states are not so pleasant. These are the aspects people outside Colombia do not see. These are the pearls inside a clam, this is the beauty behind the news reports.
Works Cited
Del Castillo Cadavid, Luis. Que Es El Vallenato? 21 Nov. 1997. 24 Nov. 1998
<http://209.143.145.169/vallenato/general/html>
Darling, Juanita. "Colombia Plays a New Note." Los Angeles Times" 1997
Morales, Guillermo Abadia. Comprendo General De Folklore Colombiano.
Bogotá: Instituto Colombiano de Cultura, 1977.
Moya, Luis L. lmoya@uic.edu. November 22 1998.
Pelaez, Ofelia. Mambo Jambo. 27 Nov. 1997. 15 Oct. 1998.
<http://www.soton.ac.uk/~ohms/porros.html>
Pizano, Daniel Samper. Historia Del Vallenato 21 Nov. 1998. 24 Nov. 1998. <http:// 209.143.145.169/vallenato/samper.html>
Riveira, Cecilia Monsalvo. El Festival De La Leyenda Vallenata 21 Nov.
1998 24 Nov. 1998. <http://209.143.145.169/vallenato/festival.html>
Santero, Gene. "Shotguns and Accordions: Music of the Marijuana Growing
Regions of Colombia: a video review." The Nation 10 Dec. 1990: 1-3.
Seria, Sharisse. Personal Interview 23 Nov. 1998.
"Shotguns and Accordions: Music of the Marijuana Growing Regions of
Colombia." Shanachi Productions 1990.
The New Grove Dictionary of Music and Musicians. Vol. 4 New York:
Macmillan, 1980.
Wade, Peter. "Music, Blackness, and National Identity: Three Moments in
Colombian History." Popular Music Jan 1998: 1-15.
Discography
Escalona, Rafael. Los Cantos Vallenatos de Escalona. Discos Fuentes, 1991.
Hurtado, Heman Cortes. Cumbias con Acordeon. Vedisco Records, 1995.
© 1998 Jimena Varón. All rights reserved
Part I
