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Three thousand years before our era, 3,000 years ago, a legendary pheasant hunter in China invented the first accordion of which there is news in this world, wide and foreign history, and l 39; named, with his hieroglyphic writing, sheng made of a sound box, bamboo tubes and metal tongues, so that his sound, as it was imposed by the emperor of this millennial kingdom, Nyu Kwa, was exactly the pheasant's song.
It is likely that the sailor and Venetian merchant Marco Polo was the first European who had the privilege of hearing in the lands of Kublai Kan, in its original version, the instrument which, together with Other 69 collection, keeps his zeal and affectionate devotion Beto Murgas and Ocha, on the open shelves of his house-museum, in the universal capital of accordion music.
A living memory made of colored bellows colored, scales, rows of buttons and various marks originated from the prodigious performers of the magical instrument of empathic winds and lamentations with good devils and of joyful deities, who taught the day laborers and the corraleros of these payments, lovers and transhumants, the art of typing melodies on an unlikely keyboard that their astonished eyes had just finished.
Across all the cardinal points of the Caribbean's soul geographies, there were each other, singing and counting love, the daily lives of their elementary lives, their peasant tasks landless, day laborers agreed. From his loves lost in the dawns of the impossible; happy and confident in their deities and demons, in the protection of their spells and prayers against real and imaginary evils.
Inspired stories that are lost in this mythical, dazzling and sonorous valley of Upar, sown on the shores of the Perijá mountain ranges and the Nevada high of Santa Marta; Rivers that flow like musical mirrors and reflect, laughing and lewd, huge stones like prehistoric eggs that settle in their diaphanous beds.
There, in this valley of songs in the house of Beto and Ocha, the instrument of all the voices and actions of this world sui generis remains in perpetuity; the history of the accordion is preserved alive and dialectical, from the distant cheng of the Chinese until the last generation, through the variants resulting from that invented by Cyril Demian , in the nineteenth century.
all, melted into the broth distilled from the history of an aboriginal race resistant with dignity and value to the depredation of conquest, to colonialism and the usurpation of identity; in permanent symbiosis and reaffirmation of its transmuted identity in the torrent of prodigious inventions of a galloping modernity, the irrepressible challenges of technology, and the overwhelming supremacy of a dehumanized and gluttonous world market.
In Valledupar, at home, yes, in his house with his wife and children, at his ribs and to all the friends and travelers of distant or near countries who, guided by the routine d. a spirit that bore on his transhumant chest one of these instruments of enchantment are born, for the art of love and devotion to the music of the accordions, the testimony of gratitude live from a musical instrument that, without being native. , forever forged the identity of the vallenato people and spread it forever by the geography of the soul of our Caribbean.
* Poeta.
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