-Bahareque, (Venezuela, Bolivia, Argentina and Ecuador)
'Bahareque' are well-known in the UK Latin community. 'Bahareque' started initially as a
'protest' group during the Chilean exile era. After the fall of Pinochet, it gradually
metamorphosed into its present form with occasional changes to the line-up. The group's
tours abroad have included Spain, France, Italy and Bulgaria (to a TV audience of 8 million).
Five different countries are represented by the six musicians: Bolivia (Vicky),Venezuela
(Kena: the lead vocalist and Tina : the cuatro player), Argentina (Suzuki), Ecuador (Fernando)
& the UK (Colin), plus a wide variety of instruments: zampona, quena, cuatro, charango, harp,
guitar, maracas, carrasca. The repertoire ranges from Guantanamera to romantic Mexican
ballads, Paraguayan polkas, Andean huaynos, Venezuelan joropos, Chilean cuecas, cumbias
from Colombia & much more. 'Bahareque' inevitably have a lot of 'Latin gigs', but also play
extensively outside these circles.
-Maracatu Estrela do Norte, (Brazil)
Was founded in February 2002 by Sam Alexander, having developed from percussion
workshops which used to be held in a small church in Vauxhall, South London. The group has
worked hard to develop its understanding of the dance, drumming, songs and traditions of
Maractu and since its official launch earlier this year, is continuing to develop its own sense of
identity and attracting those who want to discover the depths of this living folklore.
Maracatu Estrela do Norte run percussion courses and a performing group playing traditional
Maracatu instruments and music from North East Brazil. Please see the workshops page for
more information on courses.
-Gustavo Marques & Pororocas, (Brazil)
Vocalist and guitarist Gustavo Marques grew up surrounded by music in his home city of Sao
Paulo, Brazil. His father encouraged him to play guitar, and later Gustavo studied at the
„Groove‟ School of Music for six years, and soon after formed his first band „Rebento‟ (Luiz
Roberto, bass; Eduardo Marques, drums) playing MPB (Brazilian Popular Music / Musica
Popular Brasileira).
After over six years of playing regularly on the thriving Sao Paulo music scene, Gustavo
made the move to Europe, and has become a leading figure on the London Brazilian music
scene for over three years. With Pororoca (Anselmo Netto, mandolin and percussion;
Matheus Nova, bass; and Eduardo Marques, drums), Gustavo plays a mixture of Bossa nova,
Brazilian funk, Chorinho, Afoxé and Samba at London venues including Dingwalls,The 606
Club, The 100 Club, The Crypt, The Blue Jay, Bar Havana, Royal Festival Hall (Foyer) and
Cargo.
Pororocas:
Virtuoso Bahian mandolin and percussion player Anselmo Netto played most famously in
Brazil with the band Terra Samba and played regularly on Salvador‟s vibrant music scene.
He arrived in London over a year ago and has become well known on the London music
circuit, hosting his own night at „Nightmoves‟ in Shoreditch, as well as at the Royal Festival
Hall, Bar Havana and Momo‟s.
A tremendous groovy bass player, MATHEUS NOVA is very popular amongst the Latin and
pop Londoncircles for his ability to “design” astonishing bass lines. Matheus has performed
with many groups including the Brazilian Samba Divas Elza Soares and Alcione. Based in
London, he has played with Rolland Perrin, Mark Bassey and Hugo Delmirani amongst
others.
Sao Paulo drummer Eduardo Marques has been playing drums professionally in Brazil for ten
years. He studied alongside his cousin Gustavo at the „Groove‟ School and since then has
played with Chico Cesar, Paula Lima and trumpeter Walmir Gil. He arrived in London this
year, and is playing regularly around town at venues including Ronnie Scotts and The 100
Club.
-Grupo Folclorico del Paraguay, (Paraguay)
Lily Barrios (group leader) ,Maggie Olmedo,Lorena Baez,Maria Carmen Roman, Emi
Warner,Alan Senior,Jaime Diaz,Ricardo Castaneda,Javier Bogado
The group were originally formed to represent The Anglo Paraguayan Society and to dance at
their annual independence day fiesta. The group is always evolving and each year would
usually see new dancers joining the group. They are proud to be Paraguayan and to
represent their country. Grupo Folclorico del Paraguay, wish to promote their country ,and to
show other people some of the delightful and colourful traditional folklore dances from
Paraguay.
-Lukax Santana, (Chile)
Nature and memories of childhood are strong influences on my music, although I don‟t intend
to reproduce any of them or interpret it, their presence is there none the less - sounds of the
sea, wind, smells, voices of crackling radios, rain, voices of markets, night time stories,
games, trains and the poetry of dreams.
An important influence - not in the making but the concept and execution of my music - comes
from literature and painting, especially that of Surrealist artists. I consciously started
experimenting and transferring into music the principles of automatism in poetry, where the
mind is free from any aesthetical, moral, artistic or any other value. That brought me to
become interested in the paintings of Miro, Matta, Ernst and Lam, and the writing of Breton,
Peret, Borges, Cortazar and Jarry. They opened the doors to discovering the extraordinary
stories of the Popol Vuh, the mythology of the Xingu people, the poetry of the Mapuches and
of the many people in America. Armed with these tools I started my own adventure of
discovering new and old worlds of pure magic that speak to me of dreams, desires and
freedom.
Encouraged by my grandmother I made my own drum kit from pots and pans played with
sticks, forks and knives. From that experience, I suppose, came my love of making my own
instruments and sound devices that I build from seeds, pods, pieces of wood, scrap metal,
objects I find in rubbish tips and markets, as well as toys. Recently I started to incorporate
electronic devices to my music to explore new possibilities and to see the result of putting
together two dissimilar elements - the contradiction, and this cultural clash fascinate me; the
moment when reality becomes something else.
I found that improvisation is the most direct, honest and daring way to do music, with no
immediate reference, no guiding light to show you the way. I like the beauty of doing
something so fragile in execution and concept; sonic sculptures that only exist for the moment
and never to be repeated again. Someone told me that my music reminded her of storytelling,
I suppose in a way it is, storytelling where the audience has to provide its own stories.
-Tunkul, (Mexico) they not only interpret Aztec music using authentic copies of exotic wind
and percussion instruments, they also support the music itself with fascinating background
images and anecdotes based on their own first-hand research from pre-Hispanic Mexican
codices. It‟s a feast for the eyes as well as the ears...!
-Yes – Brazil!!, (Brazil)
Since 1990, Yes!!! brazil has toured four continents and won the applause of many audiences
from Singapore to Slovenia, and Kenya to Karachi. The band and singers have played in
London's Savoy, the Royal Houses in Monaco and Hanover and to street festivals in Portugal.
In 1998 Yes!!! Brazil performed at the wedding of Spice Girl Mel B and their recent TV
appearances include BBC TV for Comic Relief and The Graham Norton Show on channel 4
(2001 & 2002). Dancers and musicians are professionally trained artists from Brazil.
-Cordao de Ouro, Capoeria (Brazil)
Cordão de Ouro London was founded in October 2000 by Proffessor Poncianinho. The name
Cordão de Ouro means "the belt of gold". The name was created by the founder of the group
in Brazil; Master Suassunna, who is one of the biggest names of capoeira in Brazil.
Cordão de Ouro London practice at various venues all over London but is well connected
creating a very social and friendly atmosphere to train in. We also hold social events outside
and indoors. The group also has the opportunity to take part in various exhibitions and
shows,with beginners to advanced all playing the art of capoeira.
About Capoeira
Game, fight or dance, what exactly is capoeira? This is a question that people frequently ask.
If you look into the history of capoeira you will find that these three definitions all apply.
The history of capoeira begins in the 18th century. The oldest known descriptive text on
capoeira was written by Melo de Morais Filho, who documented the popular traditions of
Brazil. The slaves in Brazil during their battle for freedom created Capoeira.
Since then capoeira has developed and today there are two forms of capoeira; one is called
Capoeira Angola and the other called Capoeira Regional.
Capoeira Angola is a slower and lower style where Capoeira Regional is faster and has adapted
other martial art movements such as Savate and Batukue.
-Tibaire Useche, (Venezuela)
Afro-Venezuelan Dance Workshop: This workshop will attempt to do away with folkloric dance's
reputation as interesting and valuable but remote. Instead, the focus will be really feeling the beating
of the drums in order to express these rhythms through the sensual hip movements that symbolise
our people's annual rituals and cultural festivals. The workshop will therefore be divided into:
familiarisation with the relevant instruments and the different brush-strokes used across the country,
a physical warm-up based on these rhythms and, finally, the introduction of two of the existing ways
of dancing to the afro Venezuelan drums.
The workshop leader is Venezuelan herself, and is a great enthusiast for dance, movement and
humanity in general, who has a long standing interest in the ways in which the performing arts not
only demonstrate techniques, but also communicate an identity and a way of being. Educated in
ballet, folkloric and contemporary dance, she has worked teaching dance and movement to children
as well as building a career as a choreographer. Having already had a book of poetry published, her
aim and passion now is the sharing of Latin American culture and reaching a point where dance and
movement are finally recognised by all as the fundamental part of societal development she believes
them to be.
-Ambaibo, (Bolivia)
"From the acoustics of pre-colonial Andes, to thunderous contemporary melt
of jazz, rock, ambient music, a fusion of south America Indian rhythms, the
music of Ambaibo is essential to understand the new development of
authentic Latin American World Music .
Distancing itself from all forms of musical purism in their choice of
timbres and treatment of melodies, the group mixes arrangements of
traditional compositions with their own original works. They use
instruments which were played in Ancient Andean (sikus, maltas, quenas,
quenacho, , bamboos flutes), or bongos, congas and yembe and others from
colonial times (instruments such as the charango), combining them with
modern instruments like the electric guitar and bass guitar. The resultant
music is both familiar and exotic.
Taking their name from a tree in the Amazonas , Ambaibo , where the sounds
of the early morning prayers carry across the straits from Amazonas,
Ambaibo‟s repertoire conjures up the distant beats and passions of ancient
sound, with its numerous influences of Jazz and Rock innovation . Ambaibo
is an explicit reference to the type of musical wave that the group wants
its listeners to catch where unfolding melodies and an enriched rhythmic
base permit continued dialogue between the percussive instruments, wood
and string sections, and voice.
The haunting mix of Andean rhythms and Spanish harmonies with extracts of
new influences that made such an impression on Tempestad have been further
refined. Ambaibo is actually a small group of unconventional musicians of
Southamerican origin; Vicky Cespedes and Roberto Fernandez wind sections,
Bishop Valle bass, Chalie Carafa electric guitar and keyboard, Sandro
Salcedo strings and vocals, Gabriela di Laccio lyrics and vocals and
Roberto Calzadilla percussion and strings.
This band of self-confessed musical alchemists combines their talents to
magical effect with ”Encuentros”. The repertoire is an even balance of
songs written especially for the album and existing material drawn from a
variety of Andean and amazons folkloric traditions. (Listeners in many
different parts of the world may be surprised to find familiar sounds or
melodies emerging from the stylish fusion that constitutes the music of
Ambaibo.
-Grupo Folklorico Tungurahua, (Ecuador) beautiful choreographies that bond to sounds of
autochthonous musical instruments, such as: pingullos, rondadores, ocarinas, dulzainas, bombos,
bocinas, etc. This repertoire will communicate the authenticity and the colourful, rhythms that to the
Ecuadorians move and to the foreigners dazzle
-Diego Vera. Harpist, (Paraguay)
Diego is 19 years old and was born in Asuncion, Paraguay. He started learning the harp at the age
of 11 and took lessons with some very famous harpists like: Enrique Samaniego, Diosnel Guerrero,
Feliciano Peralta, Papi Galan, Heriberto Leuizamon and Dionisio Arzamendia.
He also studied music theory and interpretation at the “Conservatorio Nacional de Música” del
Paraguay in Asuncion.
He has played in Bolivia, Brazil and Argentina on many occasions and was a member of the
Paraguayan Cultural Delegation that participated in the opening ceremony of the 2002 World Cup in
Korea.Later playing in several cities in that country and in Taiwan.
In 2003 Diego toured England as part of Harp3,a trio of Paraguayan harpists, playing in London,
Oxford, Peterborough, Leeds, Newcastle and Sunderland. In 2004 he has played in Poland and
Hungary and then returned to England in September.
Also this year he produced his first solo CD, which includes some of the most beautiful Paraguayan
tunes as well as a selection of well known international pieces.
Diego has won several important prizes at music festivals in his country, including the prestigious
Festival del Lago Ypacarai and was a finalist at the National Harp Festival in 2001.
About the Harp
The Paraguayan harp is the national folk instrument of Paraguay. It was probably introduced to the
country during the 16th century by Jesuit priests, who established Christian missions among the
Guarani Indians.
Paraguayan harp music developed over the years and nowadays Paraguayan musicians tour the
world and harps are sent to many countries by many harp makers, making the Paraguayan harp the
most widely used of the various Latin American harps.
It is light and porable and the music is bright, rhythmic and appeals to all age groups. It is different
from the classical harp in that it has no pedals and it is made entirely of wood with 36 nylon strings. It
is played with the fingernails and has a unique, beautiful and powerful tone.
Many harpists still play entirely by ear, and the pieces being handed down from generation to
generation.
-Alejandro Dávalos, (Argentina)
-Pastor Jurado, (Argentina)
-Mariachi Chapala 2000, (Mexico)
-Inventango (Argentina)
-Luzmira Zerpa, Dancer (Venezuela)
- Ollantay Danza folclórica (Perú)
-Solatino, (Colombia) something as a mixture of pop Latino, rumba and folklore: These girls
call it, “Acústica latín pop”.