00:00:15.010 --> 00:00:30.984
...and here I came to sing, so that the pain will heal,
because I learned on my land that
everything is healthy singing.

00:00:38.992 --> 00:00:43.997
One does not choose where to be born and God
gave me the privilege of being born in Cordoba.

00:00:47.000 --> 00:00:52.005
on the bank of the Sinu River and bathed
by the immensity of the Caribbean sea.

00:00:53.006 --> 00:00:57.010
here, where there is no better
wedge than that suited.

00:00:57.010 --> 00:01:01.014
Where after the storm,
comes the calm

00:01:01.014 --> 00:01:04.017
and where the singing of swallows
announces the arrival of summer.

00:01:05.018 --> 00:01:09.982
where people, without knowing you,
in one night, recount their life.

00:01:11.984 --> 00:01:13.984
and when you leave, they cry like old friends.

00:01:14.984 --> 00:01:24.598
how the saying goes: the most beautiful
thing of one being born in good land, is not
leaving the good land, but remain on that good ground.

00:01:29.897 --> 00:01:32.984
I am going to tell you the story of how
Porro was made in Colombia.

00:01:33.005 --> 00:01:39.011
Because Porro is not only a musical rhythm,
but a way of loving and feeling

00:02:01.992 --> 00:02:05.996
-Jose Antonio, we are leaving
brother Juan, careful!

00:02:07.998 --> 00:02:09.583
In this land, everything is sung.

00:02:13.003 --> 00:02:22.012
Eeeee, eeeee the horse cowboy
eeeeee that goes herding the cows

00:02:23.013 --> 00:02:31.980
ÉThe bull calls the cow, the cow calls the calf
the calf calls the owner at the door.

00:02:38.987 --> 00:02:41.698
-Brother Juan, good morning
-Good morning, How are you?

00:02:41.990 --> 00:02:44.117
-Are you getting Reddy to cut the mountain?

00:02:44.409 --> 00:02:47.996
While working the field, they emit mountain cries.

00:02:57.005 --> 00:03:02.010
Pacha Perez is crying
Because they don't give her coffee

00:03:03.011 --> 00:03:07.516
Don't cry, don't cry to me Pacha
That I already ordered it.

00:03:09.017 --> 00:03:12.020
The cries of the mountain
are when you feel tired

00:03:12.980 --> 00:03:16.984
so you hear a cry of mountain
and get strong again.

00:03:18.986 --> 00:03:29.997
seek a bed for the mountain,
the mountain has no bed. The mountain's
bed is but eager, hard labor.

00:03:33.000 --> 00:03:36.003
Juan, my buddy.
Be ware of snakes, damn!

00:03:37.004 --> 00:03:43.010
At 5:00 am
Sing the bird (Ňcopeton rayadoÓ)

00:03:44.011 --> 00:03:48.015
In the beginning was the Word,
and the Word is the great treasure that came from Spain.

00:03:49.016 --> 00:03:54.479
Decima is a kind of poetry that is done in 10 verses.
Vicente Espinel brought it to America.

00:03:54.980 --> 00:03:59.985
It is original from Andalusia
but farmers in my country
believe it was born here,
on the banks of the river Sinu.

00:04:00.986 --> 00:04:11.997
Decima is a legacy that mother Spain
left and stayed in my cabin as a noble stream.

00:04:12.998 --> 00:04:20.005
Because of its dwelling, it has a
huge cadence and the name it is given

00:04:21.006 --> 00:04:29.014
is Vicente Espinel's; and Raphael
sang it with Caribbean Indian blood.

00:04:31.016 --> 00:04:35.979
- My name is Jose Antonio Petro Doria,
the traditionalist, such a traditionalist!

00:04:36.980 --> 00:04:39.983
- My name is Juan de Jesus Durango Doria,
the son of the holy spirit.

00:04:40.984 --> 00:04:44.988
-My name is Lazaro Cantero Perez
ÁApurruyaya!

00:04:45.989 --> 00:04:56.708
- Decima is a poetic stanza that has ten verses
of eight phonetic syllables.

00:05:06.009 --> 00:05:12.015
It is very rigorous because each verse,
plus the eight phonetic syllables,
rhymes by consonants: the first with the fourth and fifth,
the second with the third.

00:05:13.016 --> 00:05:19.898
Better she dances fandango, porro, cumbia and vallenato,
to make me forget the time

00:05:19.982 --> 00:05:20.983
when I walked through mud.

00:05:21.984 --> 00:05:28.699
- Then the sixth with the seventh and the tenth;
and the eighth with the ninth.

00:05:28.991 --> 00:05:36.707
Better she keeps my feaster reputation
elevated and devotes to my love by
41

00:05:36.999 --> 00:05:42.004
giving me a few triplets;
if not like that then I don't want her.
42

00:05:43.005 --> 00:05:51.013
- For me, Decima is my identity card.
It is the greatest expression of emotion.

00:05:57.019 --> 00:06:08.989
Born in this city, a beautiful culture,
San Pelayo beats to the world and the nation

00:06:09.990 --> 00:06:17.998
In Pelayo there is an event of national character
with a cultural badge for an entire sector.

00:06:18.999 --> 00:06:26.006
Today brass music represents this region,
across the nation
and around the world

00:06:27.007 --> 00:06:29.009
because porro from Pelayo is what the people listen to.

00:06:30.010 --> 00:06:34.681
- Since there was no instrument as companion,
our farmers went

00:06:35.015 --> 00:06:43.690
with the best tool there is:
the human voice, while setting that jolly,
cadenced, sentimental accent.

00:06:43.982 --> 00:06:55.994
These are details of folklore
that uplift my soul
when breaking into the dawn,
I hear a drum sound

00:06:56.995 --> 00:07:05.003
So full of love and fully rendered,
singing with virtue these decimeros,
Pelayo that I love, Pelayo that I love,
in this emporium of virtue.

00:07:14.012 --> 00:07:17.683
- Unquestionably, the river was the way
through which the Decima arrived

00:07:18.016 --> 00:07:25.399
We have Sabana Nueva as an example,
the epicenter of the DŽcima in Cordoba

00:07:25.607 --> 00:07:32.281
a beautiful town, magical, picturesque,
on the bank of the river
with the largest number

00:07:32.614 --> 00:07:38.287
of exponents of the Decima in the area
and in Colombia, per say.

00:07:38.996 --> 00:07:46.003
-My mother had twenty-three birth and bore twenty-four children.
We were twenty-four siblings of the same mother and father.

00:07:47.004 --> 00:07:49.590
- All Decimeros or others dedicated toÉ?

00:07:50.007 --> 00:07:56.013
- The ones I knew, but I was the youngest
of that generation of people who lived
home with my parents.

00:07:57.014 --> 00:07:59.016
-How did the Petros family arrived to Sabana Nueva?
They are the founders of my town.

00:08:00.017 --> 00:08:08.192
- The Petros family came from a town called La Guama,
as well as the Perez family

00:08:08.692 --> 00:08:18.702
they arrived to the town Sabananueva,
then they started working the land and...

00:08:18.994 --> 00:08:21.997
-Make kids (laughs)

00:08:23.999 --> 00:08:27.211
- No Decimero refuses to sing when asked to.

00:08:27.503 --> 00:08:34.301
We are spontaneous, we volunteer,
we are men with sandals,

00:08:34.593 --> 00:08:46.188
with hats, with backpacks, Reddy
ready to express our feelings through
music, through song, through poetry.

00:08:45.979 --> 00:08:53.987
I say farewell
and give rest to my memory
I'm the Juan Doria,
San Pelayo am your son.

00:08:55.989 --> 00:08:58.992
I live very grateful
to have been born a Decimero

00:08:59.993 --> 00:09:10.003
because I can
sing and exalt you,
and ask all the listeners
to venerate the porro Pelayero.

00:09:11.004 --> 00:09:19.179
The film has ended
and your cruel spatula
deteriorated my face
leaving it in disfrace

00:09:19.513 --> 00:09:25.018
I live in the canicula
for your aromatic love
for which I have become an aficionado

00:09:26.019 --> 00:09:32.985
but you're so incredulous
that although I take you in my sack
you still treat me as indifference.

00:09:33.986 --> 00:09:37.990
- Thank you, an immense pleasure, and I want to tell the world:
this is the land of Cordoba.

00:09:38.991 --> 00:09:42.202
This is the land that one day
gave birth to Adriana Lucia

00:09:41.994 --> 00:09:51.003
This is the land of the famous traditionalist
of the famous Juan Doria;
The land of Apurruyaya, Lazaro Cantero

00:09:52.004 --> 00:09:57.009
Let the world distinguish this so the people utter:
Colombia, we are the Sinu.

00:09:58.010 --> 00:10:07.019
You fell in love with me when I sung
but this worries me because it makes you suffer.

00:10:08.020 --> 00:10:12.191
And now you want to go to sleep,
whether night or dawn,

00:10:12.482 --> 00:10:16.195
When I invite you to a party,
you always put me obstacles,

00:10:16.612 --> 00:10:21.200
and what you used to enjoy,
is what now troubles you.

00:10:21.617 --> 00:10:28.207
and what you used to enjoy,
is what now troubles you.

00:10:28.499 --> 00:10:32.211
and what you used to enjoy,
is what now troubles you.

00:10:32.503 --> 00:10:38.217
and what you used to enjoy,
is what now troubles you.

00:10:41.512 --> 00:10:48.519
You say I no longer love you
that it seems like I have changed
when I am not on your side

00:10:49.019 --> 00:10:50.020
you want me to go there fast

00:10:50.979 --> 00:11:00.989
and then you question me first: at whom was I staring,
then you keep complaining and start nagging.

00:11:02.991 --> 00:11:06.995
I will pack my suitcaseÉI want to keep singing.

00:11:32.980 --> 00:11:42.990
Because I am getting tirad
of dealing with your selfishness
and I don't feel the same
when you get jelous

00:11:43.991 --> 00:11:53.000
And I say it singing,
to see if you reason with me,
I gave you my heart
but youŐre mistreating it

00:11:54.001 --> 00:12:00.007
Don't come back pleading for me
to sing for you

00:12:01.008 --> 00:12:04.011
Don't come back pleading for me
to sing for you

00:12:05.012 --> 00:12:09.516
I'll pack my suitcase
I want to keep singing

00:12:10.017 --> 00:12:14.021
I'll pack my suitcase
I want to keep singing

00:12:25.991 --> 00:12:31.205
And when you ground yourself
and that cloud in your head vanishes

00:12:31.497 --> 00:12:37.002
and then you realize that love does not wait
wait and it's no longer possible to start over

00:12:49.014 --> 00:12:54.019
I'll pack my suitcase
I want to keep singing

00:12:55.020 --> 00:13:04.988
I'll pack my suitcase
I want to keep singing

00:13:05.989 --> 00:13:14.998
Look, I'll pack my suitcase

00:13:15.999 --> 00:13:24.007
to keep singing

00:13:31.014 --> 00:13:39.982
Caribbean music is born out of
mixed races: Indian, black and white.

00:13:41.984 --> 00:13:48.198
Porro is the musical rhythm that characterizes
us, the Cordovan, and although today

00:13:46.989 --> 00:13:53.203
we hear it played by brass bands,
it was formerly performed

00:13:53.495 --> 00:14:01.211
at the vocal dances. A free space
where singers accompanied by claps

00:14:01.503 --> 00:14:04.006
and drums sung to ease the pain.

00:14:06.008 --> 00:14:09.011
The land where I was born

00:14:10.012 --> 00:14:13.015
on the bank of the Caribbean Sea,

00:14:14.016 --> 00:14:18.020
The land where I was born

00:14:19.980 --> 00:14:22.983
Drums concert
You hear the sound coming

00:14:23.984 --> 00:14:32.993
along the Caribbean Sea
The land where I was born
along the Caribbean Sea

00:14:42.002 --> 00:14:45.005
Puerto Escondido sings,
dances and plays bullerengue.

00:14:46.006 --> 00:14:48.008
One of the sung dances of the
Colombian Caribbean.

00:14:56.016 --> 00:14:59.019
Early settlers who came
to this land were of African descent

00:15:00.979 --> 00:15:01.980
came from the island of Baru and
San Basilio de Palenque

00:15:02.981 --> 00:15:07.986
They carried on the tradition of the
male song or labor sung danced.

00:15:27.005 --> 00:15:30.092
When my mother died, Eloisa Garcel Ladeo,
Queen of bullerengue in Necocli,

00:15:30.509 --> 00:15:33.011
I came here
to Puerto Escondido.

00:15:34.012 --> 00:15:38.100
When I startedshe said
to me:  I will let you sing

00:15:38.517 --> 00:15:43.981
and hope you're
the one to rescue me.

00:15:43.981 --> 00:15:49.987
She gave me her talent and her
voice, this is why I sing bullerengue.

00:15:51.989 --> 00:15:57.995
My plant has already die,
-my plant

00:15:58.996 --> 00:16:04.001
Tomorrow that I sang to it
- it returns to live

00:16:05.002 --> 00:16:09.006
Tomorrow that I sang to it
- it returns to live

00:16:11.008 --> 00:16:16.013
-There is a rythm base in bullerengue.
Our ancestors left us a legacy

00:16:16.305 --> 00:16:19.016
bullerengue was defined as a single element,

00:16:21.018 --> 00:16:25.981
a reposed rhythmic pace like a
cumbia beat they called 'settled.Ő

00:16:35.991 --> 00:16:43.499
- They also mentioned the porro,
which is properly the ÔsettledŐ bullerengue

00:16:43.999 --> 00:16:49.004
but a more rhythmic
long-winded; more a ritual than a feast.

00:16:51.006 --> 00:17:01.016
it returns to live Tomorrow that
I sang to it it returns to live

00:17:02.017 --> 00:17:05.020
My mother said goodbye
that's why She's not here

00:17:16.490 --> 00:17:19.201
- Other rhythms or rhythmic variations arrived later
on to Puerto Escondido, to the Uraba area

00:17:19.493 --> 00:17:23.997
and other parts of the mountains of Maria,

00:17:24.206 --> 00:17:29.002
such as the chalupa and the fandango.

00:17:31.004 --> 00:17:34.007
- Bullerengue is in my blood
so when I hear the drumbeats

00:17:34.299 --> 00:17:37.010
I start dancing on stage.

00:18:01.994 --> 00:18:06.999
We truly love our culture, especially the bullerengue
because it is our cultural identity

00:18:08.000 --> 00:18:12.004
We want to broaden its reach throughout
Colombia and other countries.

00:18:17.009 --> 00:18:25.517
In this culture, women are authority, are the spine,
the givers of life, which forms, breeds, and sings.

00:18:26.018 --> 00:18:30.981
At these sung dances, women have a central role
since its origin,

00:18:31.398 --> 00:18:33.984
expecting women practiced this ritual.

00:18:34.985 --> 00:18:39.198
And unlike other rhythms of African origin,
the 'porroŐ or Ôsettled bullerengue',

00:18:39.489 --> 00:18:42.993
being a cadenced pace, allowed them
to move their hips

00:18:43.494 --> 00:18:46.997
without affecting the being
that was in gestation.

00:18:55.005 --> 00:19:00.010
If god ask me where I would like to be born?

00:19:02.012 --> 00:19:08.018
The cheerful drum, or female, is the dominant instrument.
The woman dances to whoever plays the drum

00:19:09.019 --> 00:19:14.983
while the man, with his sound, gets her to bow whilst
the woman brings out her whole repertoire and dexterity.

00:19:15.984 --> 00:19:21.990
The skirt suggests the parts that give life from  woman
the breast, the belly and hips.

00:19:25.994 --> 00:19:32.998
The male dancer enters and tries to steal the attention
of the female dancer, distracting her from the
drum he will conquer her.

00:19:33.000 --> 00:19:35.427
It is a challenge between man and drummer;
it is a dance of infatuation.

00:19:45.013 --> 00:19:52.020
- I am from C—rdoba and carry
bullerengue in my blood and veins.

00:19:52.980 --> 00:19:58.986
Come back in June and youŐll see what it
feels to dance and sing bullerengue.

00:20:31.018 --> 00:20:35.981
The sung dances, when mixed with the gaitas
are the closest predecessor of the porro.

00:20:36.481 --> 00:20:40.986
and the outdoor feasts chased
away the pains and fatigue.

00:20:41.987 --> 00:20:44.990
Drums were made of tree
trunks and animal skins

00:20:44.990 --> 00:20:47.993
while the gaitas
a pre-Columbian instrument

00:20:48.994 --> 00:20:51.997
of indigenous Caribbean origin,
were done from reeds that grow in the forest.

00:20:53.999 --> 00:21:00.005
- They must be the most beautiful group
who after their eighty something years,

00:21:01.006 --> 00:21:06.011
still retains its name:
The Flower of Joy.

00:21:06.011 --> 00:21:10.015
- My name is Pedro Arque D’az

00:21:12.017 --> 00:21:15.979
- Antonio Alvarez, I play guache

00:21:16.980 --> 00:21:20.984
- Adolfo Ortega, I play the short gaita.

00:21:24.988 --> 00:21:29.493
- It was a big movement

00:21:29.993 --> 00:21:37.000
in our time the gaita was big. Ever since we
were we kids, we wanted to go out to listen

00:21:38.001 --> 00:21:40.003
because back then you didnŐt
go out like today.

00:21:41.004 --> 00:21:43.006
- They have a strong tradition.

00:21:44.007 --> 00:21:47.219
They carry a superb tradition: Maestro
Adolfo learned from his uncle

00:21:47.511 --> 00:21:56.019
who learned from his grandfather. It is a uninterrupted
line of tradition that comes from the nineteenth century.

00:21:57.980 --> 00:22:05.988
- We played all sorts of sounds
back in the day:

00:22:06.989 --> 00:22:11.994
sapo, la oreja de perra, la puya
del Diablo from all areas.

00:22:13.996 --> 00:22:16.999
- In the state of C—rdoba we have
a dominant influence from the little that was left,

00:22:17.499 --> 00:22:23.005
of the legacy Sinu.
I would say that

00:22:23.505 --> 00:22:27.009
the gaita is a survivor of the
cultural massacres committed here

00:22:27.384 --> 00:22:30.012
and that it is a very important
instrument here in our region.

00:22:46.486 --> 00:22:51.992
A traditional gaita has a cylinder body
made of a cactus called pitahya.

00:22:52.993 --> 00:22:58.999
The upper part is made of beeswax
with grounded burnt charcoal

00:23:00.000 --> 00:23:05.005
and a traditional duck
feather on the center.

00:23:16.016 --> 00:23:20.979
- The traditional way
of manufacturing,

00:23:21.480 --> 00:23:23.982
was based on the body measurements
of the manufacturer,

00:23:24.983 --> 00:23:28.987
therefore, a long gaita was measured
from the center of the chest

00:23:34.993 --> 00:23:38.997
to the tip of the middle finger, and the short gaita
measured two fourths and 4 fingers.

00:23:39.998 --> 00:23:46.004
The pitch of the instrument was linked
to the anatomy of the manufacturer.

00:23:46.505 --> 00:23:54.012
We started looking for a table of measures
to narrow the gaita in precise tones.

00:24:10.988 --> 00:24:16.994
- It makes me sad to see me almost alone

00:24:17.494 --> 00:24:20.706
because my partners have been dying.

00:24:20.998 --> 00:24:26.712
- I am the oldest one,

00:24:27.004 --> 00:24:31.717
there are even some that walk
half bent, even myself.

00:24:32.009 --> 00:24:35.012
but I seem straighten up

00:24:36.013 --> 00:24:42.019
I don't remember I am going to die in a while
but I wonŐt remind you either.

00:24:47.983 --> 00:24:50.485
My father tells me that as a kid,

00:24:50.986 --> 00:24:52.988
gypsies came to my town
equipped with their tents

00:24:53.989 --> 00:24:57.993
that later served as projector
for the Mexican films of the era.

00:24:59.995 --> 00:25:03.499
In Colombia there are 4,850 gypsies
based on the national census.

00:25:09.004 --> 00:25:11.006
Seventy of them live in Cordoba and although they
no longer live in tents, they remain a traveling community.

00:25:17.012 --> 00:25:21.683
- In terms of state, we Cordoba,
in terms of region, the Sinu,

00:25:22.017 --> 00:25:25.979
we are very open because

00:25:26.480 --> 00:25:28.482
because we have many influences

00:25:28.982 --> 00:25:34.696
Many people travel through,
our land and we share with them,

00:25:34.988 --> 00:25:40.702
interact with them,
we are an open community.

00:25:40.994 --> 00:25:48.001
Now, that does not mean we do not have an
identity. Our identity is that, free.

00:25:49.002 --> 00:25:53.006
For example the Gypsy:

00:26:00.514 --> 00:26:05.018
- My language is called Shibromani,
original of the north of India.

00:26:06.019 --> 00:26:09.982
- A gypsy from Sinu?
Where do you see that?

00:26:10.983 --> 00:26:15.988
This is of most interest for us.

00:26:15.988 --> 00:26:24.997
- The low Sinu has always had many horses,
a rich livestock, so our ancestors

00:26:26.999 --> 00:26:32.212
settled in the Sinu
with the horse Business,

00:26:32.588 --> 00:26:35.007
buying and selling horses.

00:26:54.985 --> 00:26:58.989
We traveled to Lomo de bestia from one
place to another, we camped in a paddock,

00:26:59.990 --> 00:27:05.996
we made our tents, amare cheri

00:27:06.997 --> 00:27:11.001
and in the afternoon we played
guitar with our grandfather.

00:27:11.502 --> 00:27:14.713
There is a popular song well sung

00:27:15.005 --> 00:27:20.010
by almost all the gypsies of the world
(gipsy singing)

00:28:03.011 --> 00:28:10.018
My soul aches, My soul aches
for I saw you walk away

00:28:11.019 --> 00:28:18.986
My soul aches, My soul aches
for I saw you did not return

00:28:19.403 --> 00:28:26.994
My soul aches, My soul aches
because it is bruised

00:28:27.411 --> 00:28:36.003
My soul aches, My soul aches
I knew you will not return.

00:28:37.004 --> 00:28:47.014
Boy, I sing my grief today
to see if I can console my tears.

00:28:48.015 --> 00:28:56.982
Boy, your red lips,
in your pretty eyes I want to stay.

00:28:57.983 --> 00:29:05.991
That morning at the Beach
your guitar sang me

00:29:06.492 --> 00:29:15.000
and in my head, I was your princess
and believed in your melody.

00:29:23.383 --> 00:29:32.017
My soul aches, My soul aches
and I knew you would give up.

00:29:33.018 --> 00:29:41.985
Boy, I sing my grief today
to see if I can console my tears.

00:29:42.986 --> 00:29:52.496
Boy, your red lips,
in your pretty eyes I want to stay.

00:29:52.996 --> 00:29:59.002
And your heart has changed
you've changed, now is of cedar

00:29:59.503 --> 00:30:07.010
It is made of stiff cedar,
because my kisses, it has forgotten.

00:30:29.992 --> 00:30:40.002
Boy, I sing my grief today
to see if I can console my tears

00:30:41.003 --> 00:30:50.012
Boy, your red lips
in your pretty eyes I want to stay.

00:30:54.016 --> 00:31:02.983
I will stay
I will stay

00:31:05.986 --> 00:31:11.992
- At El Carito, in San Pelayo,
in Lorica, there is the world,,

00:31:12.493 --> 00:31:16.997
just that we donŐt see it some times,
but we are in the world.

00:31:17.498 --> 00:31:22.002
How we are in the world?
When we listen to porro,

00:31:22.503 --> 00:31:23.003
we see the world;
in holds elements of the world.

00:31:28.008 --> 00:31:33.680
Santa Cruz de Lorica is located in the lowest part
of the Sinu River, very close to the Caribbean Sea.

00:31:34.014 --> 00:31:36.016
It was the Port of the old state of Bolivar.

00:31:37.017 --> 00:31:41.480
Its history is reflected in the mix of traditional
families of Cartagena and the Lebanese

00:31:41.980 --> 00:31:44.983
and immigrants who arrived in
search of new horizons.

00:31:53.992 --> 00:32:04.419
In 1890 my grandfather came to Colombia.
His name was Moises Jattin and
arrived here, in Lorica.

00:32:06.004 --> 00:32:09.508
Lorica is one of the towns
declared cultural heritage of Colombia.

00:32:10.008 --> 00:32:14.012
It is impossible to get to the market
without enjoying its rich gastronomy.

00:32:17.516 --> 00:32:22.020
A mixture of typical regional flavors
and spices and condiments that came

00:32:22.479 --> 00:32:24.982
to this land across the river.

00:32:32.990 --> 00:32:37.995
-Every day the main dish is the fish stew,
stewed chicken, and beef stewed.

00:32:39.997 --> 00:32:47.004
- What do you have for today?
Stewed chicken, fish stew, fried fish,
beef stew what would you have?

00:32:54.011 --> 00:33:01.018
The city is old and stately, the land of David
S‡nchez Juliao, Manuel Zapata Olivella,

00:33:01.518 --> 00:33:05.981
El Flecha y Abraham Al Humor,
better known as Saudi Lorica.

00:33:06.481 --> 00:33:12.488
-The 30s was the period with the
the largest number of Arabs residing in Lorica.

00:33:12.988 --> 00:33:18.994
between the 30s and 50s is when we see
mayor nśmero de ‡rabes aqu’ en Lorica.

00:33:40.516 --> 00:33:46.980
-The rivers and the sea are the doors
that connect us to the world.

00:33:55.989 --> 00:34:07.000
I came here to ask for your forgiveness,
to sing you the songs I compose for you

00:34:07.292 --> 00:34:20.013
And this is why I am here, to tell you how I feel;
with my songs I don't pretend to hold you next to me

00:34:21.014 --> 00:34:29.982
And even after everything that has happened,
our great love withstood,

00:34:31.984 --> 00:34:41.994
I'm sorry for all the damage I've caused,
so I come to ask for your mercy.

00:34:42.995 --> 00:34:50.002
I want to write you the most beautiful songs,
those born at dawn,

00:34:50.502 --> 00:34:59.011
too ease your agony
I want to write you sublime melodies,

00:34:59.511 --> 00:35:07.519
in the ear sing to you, so you know
what I have suffered, since I lost you

00:35:08.020 --> 00:35:13.984
I was lost and adrift.

00:35:21.992 --> 00:35:32.002
Since you're not here the house got bigger
all I do is think of you but I know I lost you.

00:35:32.503 --> 00:35:44.014
That's why I'm here, to ask you to return
because in my soul everything grows; this song is for you

00:35:45.015 --> 00:35:55.984
And although everything here is ill treated,
love never fails to be,

00:35:56.985 --> 00:36:06.495
despite the time that has past
I dream that one day you will want to return.

00:36:06.995 --> 00:36:15.003
I want to write you the most beautiful songs,
those born at dawn

00:36:15.504 --> 00:36:23.512
too ease your agony
I want to write you sublime melodies

00:36:24.012 --> 00:36:32.020
in the ear sing to you, so you know
what I have suffered; since I lost you

00:36:32.312 --> 00:36:38.694
And here I come to sing,
to heal the pain

00:36:38.986 --> 00:36:45.993
because I learned back in my country
everything is healthy singing

00:36:48.996 --> 00:36:54.001
The most beautiful songs
which are born at dawn

00:36:54.501 --> 00:37:03.010
to ease your agony.
I want to write you sublime melodies

00:37:03.510 --> 00:37:13.020
in the ear sing to you, so you know
what I have suffered; since I lost you

00:37:44.009 --> 00:37:49.681
In the reef knot of Paramiyo, there
at the top of  Tucura, is born, erect, the Sinś river

00:37:50.015 --> 00:37:53.018
and dies at Cipata Bay.

00:37:57.981 --> 00:38:02.986
And right here in Cispat Bay at the
mouth of the Sinu River is San Antero

00:38:03.487 --> 00:38:06.990
a Caribbean town
living from fishing and tourism

00:38:07.491 --> 00:38:09.284
where one learns to dance
before to speak.

00:39:13.015 --> 00:39:16.393
As long as there are drums, dance
never ends and where there is Africa and drums

00:39:16.685 --> 00:39:21.398
there is mapale: and where there is Africa
and the Caribbean, there is champeta.

00:40:06.485 --> 00:40:13.283
- As we are next to the seashore, we feel Ôla champeta,Ő
it vibrates like the ocean waves.

00:40:15.994 --> 00:40:18.997
I want to feel you in my bones,
That your kisses devour me.

00:40:19.414 --> 00:40:23.001
Go beyond the death
and nothing else.

00:40:29.007 --> 00:40:35.013
And with you Martina La Peligrosa,
Áchampetea marti, champetea!

00:40:36.014 --> 00:40:38.016
Come, come, come, come

00:42:04.019 --> 00:42:08.982
- As of 6 months pregnancy
children begin to jump inside the womb

00:42:09.483 --> 00:42:13.987
they can hear the music
they vibrate with it.

00:43:24.016 --> 00:43:31.982
You are more than what I was looking for.
You are more than what I was looking for.

00:43:32.399 --> 00:43:38.989
I know you are more than what I was looking for.
I know you are more than what I was looking for.

00:43:39.990 --> 00:43:43.494
A bit of tenderness
don't stop looking at me

00:43:43.994 --> 00:43:47.998
You broke my string
You came to save me.

00:43:48.707 --> 00:43:51.502
A bit of tenderness,
I keep thinking about you.

00:43:52.002 --> 00:43:55.297
I have loved you dearly
You came to save me.

00:43:55.714 --> 00:44:02.012
You are more than what I was looking for.
You are more than what I was looking for

00:44:03.013 --> 00:44:10.979
I know you are more than what I was looking for.
I know you are more than what I was looking for.

00:44:19.988 --> 00:44:23.492
A bit of tenderness
donŐt stop looking at me.

00:44:23.992 --> 00:44:26.995
You broke my string,
You came to save me.

00:44:27.496 --> 00:44:30.999
A bit of tenderness
I keep thinking about you

00:44:31.500 --> 00:44:35.295
I have loved you dearly
You came to save me.

00:44:35.712 --> 00:44:42.719
You are more than what I was looking for.
You are more than what I was looking for.

00:44:43.011 --> 00:44:51.019
I know you are more than what I was looking for.
I know you are more than what I was looking for.

00:45:11.999 --> 00:45:16.003
The resentful wisdom of the Amerindians,

00:45:18.005 --> 00:45:20.007
the nostalgic joy of the black,

00:45:22.009 --> 00:45:24.011
and the elegant arrogance of the white

00:45:29.308 --> 00:45:34.021
forged for centuries -amid traditions, wars, and feasts- a pace
that would become the true portrayal of the spirit of an entire region.

00:45:38.984 --> 00:45:48.994
- Porro is the original musical air of Colombian Caribbean
that brings about social life and celebration.

00:45:49.995 --> 00:45:52.998
This is why, by no means, you will ever hear of
an individual who has shot himself listening to porro.

00:46:07.513 --> 00:46:11.016
-I say, no sir, ÁPorro!,
You mean marijuana in Colombia? No!

00:46:12.017 --> 00:46:16.980
- In C—rdoba, as in the Sinu, when we say porro,
we talk about music, celebration, joy.

00:46:17.689 --> 00:46:21.485
It has nothing to do with marijuana
or anything of that sort.

00:46:28.992 --> 00:46:32.996
The black porro relocates to blunt instruments that
arrived in Europe with the bands of war.

00:46:34.998 --> 00:46:40.003
The voices were silenced, giving way to deep
melodies and harmonies that adorn

00:46:40.504 --> 00:46:46.301
so that dancers, who with hat in hand and
lit candles, could find a new path in it.

00:46:51.014 --> 00:46:54.518
Porro is a musical space
with mixed feelings.

00:46:55.018 --> 00:47:03.694
- this produces two or three tempos:.
one demonstrative, with leaps and jumps,
and another more reassured, followed
by a more ceremonious one.

00:47:10.993 --> 00:47:16.999
The band of musicians from Sinu
interprets it one-way:

00:47:17.416 --> 00:47:24.006
honoring the European music
with an initial dance.

00:47:39.980 --> 00:47:45.986
- and then comes the development of porro
which is a series of questions and answers.

00:48:08.509 --> 00:48:16.683
- and then there is an intervention
to prevent

00:48:17.017 --> 00:48:21.688
the initial ecstasy, is like a small
bridge consisting of 8 bars

00:48:21.980 --> 00:48:26.985
that gives way immediately to the
tastiest part of the porro,

00:48:27.319 --> 00:48:29.488
which grandparents have
called it ÔbozaŐ.

00:49:03.689 --> 00:49:07.985
- and finally, the conclusi—n because
it can not stop there, it has conclude.

00:49:28.005 --> 00:49:35.721
- starting with the groups of black choirs
gaitas, bands, orchestras and 4 proposals,
but it doesn't end there

00:49:58.994 --> 00:50:03.999
When you called I did not answer
I know you like me so call me again.

00:50:04.291 --> 00:50:08.003
When you left, I went to look for you
when you came back I was working.

00:50:09.004 --> 00:50:14.009
You say you love me but sometimes you get upset
you get angry when I leave for a party.

00:50:14.301 --> 00:50:18.680
You are always asking if I love you
and all I want is a genuine love.

00:50:19.014 --> 00:50:23.685
Don't get upset or jealous,
all I want is forever to stay together.

00:50:24.019 --> 00:50:25.979
Come to me
and tell me when

00:50:26.980 --> 00:50:28.982
Come to me
I am waiting for you

00:50:51.505 --> 00:50:56.009
I went to look for you but did not find you
I know you came back but I became sick

00:50:56.301 --> 00:51:00.013
When you left, I went to look for you
when you came back I was singing.

00:51:01.682 --> 00:51:05.018
You say you love me but sometimes you get upset
you get angry when I leave for a party.

00:51:05.310 --> 00:51:11.316
You are always asking if I love you
and all I want is a genuine love.

00:51:11.608 --> 00:51:16.280
Don't get upset or jealous,
all I want is forever to stay together.

00:51:16.613 --> 00:51:18.198
Come to me
and tell me when

00:51:18.490 --> 00:51:20.993
Come to me
I am waiting for you

00:52:20.010 --> 00:52:26.016
- Porro does not originate within the bands nor
does what the bands perform is called porro.

00:52:27.017 --> 00:52:30.521
The regional bands, better
known as The Pelayeras,

00:52:30.979 --> 00:52:35.984
interpret various musical rhythms
such as porro, puya, cumbia and fandango.

00:53:10.686 --> 00:53:17.401
In these villages of trouble-free people,
regardless of age, everyone enjoys dancing

00:53:17.693 --> 00:53:20.612
and find in it living tenure.

00:53:20.988 --> 00:53:24.992
From an early age, they learn to keep
the living heritage of their grandparents

00:53:25.701 --> 00:53:27.995
and dance becomes a means of expression

00:53:28.996 --> 00:53:34.001
Sometimes it is not even necessary to look
at the sky to see the stars.

00:54:36.980 --> 00:54:40.984
In Cordoba, even the leaf of a tree
becomes a musical instrument.

00:54:42.986 --> 00:54:46.990
- My name is Ever Manuel Correa Galeano and this is The
Hojitas band from San Pelayo, Cordoba.

00:56:01.982 --> 00:56:07.988
- This is my philosophy: everything has to
change, to evolve

00:56:08.280 --> 00:56:14.995
Porro has to be a cultural element that changes
to the rhythm of the new generations,

00:56:15.412 --> 00:56:23.003
parallel with technology,
and progressing with humanityŐs transformations.

00:56:51.990 --> 00:56:56.495
-Porro and jazz comes
from the land itself; there is a river

00:56:56.995 --> 00:56:59.498
the mouth of the Sinś
river to the sea;

00:57:00.707 --> 00:57:05.003
we boast African influences,
European influence.

00:57:05.504 --> 00:57:08.006
They have the French and the English,
we have the Spanish,

00:57:08.298 --> 00:57:11.009
but in essence, it was African.

00:57:33.000 --> 00:57:38.798
Here there was little influence of harmonic
Instruments but the part of the rhythm and
melody was greatly developed.

00:57:39.496 --> 00:57:49.006
However, jazz and porro have similarities
because both lend themselves to improvisation.

00:57:49.298 --> 00:57:50.007
It is the essence of our music.

00:57:50.716 --> 00:57:55.012
When you improvise on the
melody of the original porro,

00:57:55.304 --> 00:58:01.018
the scales that are used are also used
in jazz, and scales of blues are also included.

00:58:01.310 --> 00:58:06.690
That's when the real margin
between porro and jazz infringes.

00:58:06.982 --> 00:58:09.985
They are so combined that one
no does not know at what point they come apart.

00:58:35.010 --> 00:58:36.803
-When I put some of Chocolate
Armentero's recordings

00:58:37.012 --> 00:58:41.016
and improvisations, and then

00:58:41.183 --> 00:58:45.020
put Ricardo Hernandez to improvise in the
same key, I declared it the same.

00:58:45.979 --> 00:58:52.611
You put the hat the other uses to each one

00:58:52.986 --> 00:58:57.991
and it's the same.

00:58:58.200 --> 00:59:00.994
Wherever they are, there is no difference;
the same essence is shared.

00:59:01.411 --> 00:59:06.708
- When you look at the big Caribbean,
the Colombian Caribbean,

00:59:07.000 --> 00:59:14.007
I've always said it's like a big Bonaire where
the musical culture and the gastronomy are cooked.

00:59:14.508 --> 00:59:23.016
In this great fire the jazz
was born but also, porro.

00:59:23.517 --> 00:59:29.982
I mean, if you compare a jazz
band with Chirimiyas

00:59:30.315 --> 00:59:35.988
and our bands
a black trumpeter

00:59:36.405 --> 00:59:42.995
reminds you of whom? Well, of Louie Armstrong
and the of course, the devout singers

00:59:44.496 --> 00:59:49.293
from the southern region
of the United States.

01:00:04.016 --> 01:00:09.980
I say, we have to feed
our love for music

01:00:10.189 --> 01:00:14.985
so we it does not mislaid.
As the master Flores said:

01:00:12.816 --> 01:00:56.985
cause I've cried and I Ôl
wait for you and all will be fine.

01:00:15.986 --> 01:00:18.989
ŇDo not give me money, give me applause

01:00:19.990 --> 01:00:23.994
and show me that you have learned
with me; with that, you have paid me.Ó

01:00:37.007 --> 01:00:41.011
Hey, I'm looking at you and I'm dying

01:00:41.512 --> 01:00:47.017
and though you're gone,
I dream I can reach you.

01:00:49.019 --> 01:00:52.314
Tell me if this love is not serious,

01:00:58.987 --> 01:01:07.996
To see you again,
for everything could be just like the first time.

01:01:08.997 --> 01:01:19.007
To have you like this, so close to me
And start over, and feel again.

01:01:19.508 --> 01:01:29.017
For you have been the best of my path,
your humble love just fills me with happiness

01:01:30.018 --> 01:01:39.987
You have been the finest of my life,
my homeland alive, and the hope of my solitude.

01:01:40.988 --> 01:01:50.706
I want you to stay for just a little while
look into my eyes thereŐs no need to speak.

01:01:50.998 --> 01:02:01.008
Let my kisses restore past times
I want you to stay a little longer.

01:02:01.717 --> 01:02:11.018
Hey, I love you so much
I was prey to your charm and could no longer break free.

01:02:12.019 --> 01:02:21.987
Tell me you take me deep inside,
cause all I do is feel you are no longer here.

01:02:22.988 --> 01:02:31.997
To see you again,
for everything could be just like the first time.

01:02:32.998 --> 01:02:42.716
To have you like this, so close to me
And start over, and feel again

01:02:43.008 --> 01:02:53.018
For you have been the best of my path,
your humble love just fills me with happiness

01:02:54.019 --> 01:03:03.987
You have been the finest of my life,
my homeland alive, and the hope of my solitude.

01:03:04.988 --> 01:03:13.997
I want you to stay for just a little while
look into my eyes thereŐs no need to speak.

01:03:33.016 --> 01:03:42.985
For you have been the best of my path,
your humble love just fills me with happiness

01:03:53.996 --> 01:04:03.005
I want you to stay for just a little while
look into my eyes thereŐs no need to speak.

01:04:04.006 --> 10:04:15.000
Let my kisses restore past times
I want you to stay a little longer.

01:04:19.021 --> 01:04:21.982
- I'm the man of the Sinu river
which rises in Paramillo,

01:04:21.982 --> 01:04:24.985
product of a grand invention called love

01:04:25.986 --> 01:04:28.989
that taught us the
tradition of the flipped hat (vueltiao)

01:04:29.490 --> 01:04:32.993
that bestowed upon us all these nice things
so the man from the Sinś

01:04:33.285 --> 01:04:36.997
will never fear.
When fear approaches

01:04:37.498 --> 01:04:40.000
Oh my God! he poses the question:
is from this or from other?

01:04:40.292 --> 01:04:44.004
And if the answer from the other he says:
with three you have me and with three I will fright you

01:04:44.379 --> 01:04:47.007
Holy Saturday and Good Friday?
you are Christ or Cristobulo?

01:04:47.299 --> 01:04:51.011
You are either or are the cross or the slaves
who maddened God?

01:04:51.303 --> 01:04:55.015
And fear runs away for the man
of the Sinś is a man in love.

01:04:55.307 --> 01:04:57.684
My God! When he notices
a woman he exclaims:

01:04:58.018 --> 01:05:00.020
for her I will jump three times
and slip in the floor

01:05:00.187 --> 01:05:05.484
and with a fandango declares:
ŇI improved sales with just a crystal glass

01:05:05.692 --> 01:05:09.988
but none were bought for being too fine.Ó
Swiftly, then the woman falls in love,

01:05:10.405 --> 01:05:13.992
which is why he is not disgraced. And when
things get bad and there is a shortage of food,

01:05:14.284 --> 01:05:17.996
he does not get in trouble,
he shouts:

01:05:18.288 --> 01:05:23.001
Ňno matter which branch roars if the trunk is firm, no matter
if he was born with a plane nose if what you want is to breathe

01:05:23.293 --> 01:05:26.004
And have some coconut and rice, my ever-living GodÓ

01:05:26.296 --> 01:05:28.006
because that is us.

01:05:40.018 --> 01:05:44.982
Porro is also played at Fandangos.
Fandango is not only a musical rhythm

01:05:45.983 --> 01:05:50.988
but also a social event where
people dance around a band.

01:05:51.488 --> 01:05:56.994
The musicians play in the center

01:06:01.999 --> 01:06:06.003
and the couples dance around
counter clockwise.

01:06:07.004 --> 01:06:14.011
Well, perhaps to stop time, but here time
is not measured in minutes or seconds,

01:06:14.303 --> 01:06:16.305
time is measured in candles.

01:06:17.014 --> 01:06:20.017
When the man invites the woman to dance,
he asks her: ŇShall we dance a package of candles?Ó

01:06:21.018 --> 01:06:22.019
-  ŇOkayÓ.

01:06:28.984 --> 01:06:29.485
Candles were used to lit the dances
because in the past

01:06:29.818 --> 01:06:34.990
there was no electricity and the feats
were done at night and outdoors.

01:07:03.018 --> 01:07:09.316
Our dance is about a man courting a woman
where the man displays a specific gesture:
he takes off his hat

01:07:09.608 --> 01:07:12.986
and throws it on the floor as if trying
to grab hold of the woman.

01:07:13.320 --> 01:07:17.991
It is improper for the woman
to leave when the man

01:07:18.283 --> 01:07:23.497
has rocked the hat on the floor. If this happens,
the relationship breaks apart and the dance ends.

01:07:23.997 --> 01:07:30.003
If she stays, it is a sign that things are going
very well and several candle boxes are left to burn.

01:07:51.984 --> 01:07:55.988
- I first met Antonio Lopez,
Adriana Lucia's father,

01:07:56.989 --> 01:08:02.995
A hidden Composer
on the banks of the Sinu.

01:08:09.501 --> 01:08:15.007
I am involved in a cultural event for which I once
composed a porro; I gave it to Adriana Lucia for her to learn,

01:08:15.299 --> 01:08:22.014
to compete at a festival of unreleased songs.

01:08:23.015 --> 01:08:29.021
- And what's the name of the song? It is named Porro Bonito
I asked him: Pretty like you? No, like my daughter

01:08:29.313 --> 01:08:32.983
but I had never met Adriana Lucia.
And when the girl came out,

01:08:33.984 --> 01:08:36.987
there were no handkerchief
lefts on our pockets,

01:08:37.321 --> 01:08:40.991
everybody in the audience was
waving them up, clapping

01:08:41.992 --> 01:08:47.998
even the lights were turned off
while the lit paper lamps were
released in the air.

01:08:48.999 --> 01:08:57.007
Adriana Lucia sung magically and conquered
everybody's hearts that night.

01:08:57.299 --> 01:09:02.304
With this porro I want to express,
cheerful verses for my region,

01:09:02.679 --> 01:09:07.017
which since childhood have watched me sing,
beautiful songs for my folklore.

01:09:19.988 --> 01:09:25.994
With this porro I want to express,
cheerful verses for my region,

01:09:27.996 --> 01:09:34.002
which since childhood have watched me sing,
beautiful songs for my folklore.

01:09:36.004 --> 01:09:41.009
I sing to El Carito dearly,
beautiful town, my homeland.

01:09:42.010 --> 01:09:47.015
Listen to this Porro I will sing to you,
and gently I will dance.

01:09:48.016 --> 01:09:57.985
The cultural taste you have bestowed to your region,
that chicha's festival is paramount.

01:09:58.986 --> 01:10:09.496
Traditions revive, lost folk,
and so this pleasant land in Colombia is known.

01:10:09.997 --> 01:10:21.008
Beautiful town I will sing to you,
beautiful Porro I will dance to you.

01:10:55.000 --> 01:11:01.006
To El Carito I want to sing today,
with joy and with great emotion.

01:11:03.008 --> 01:11:10.015
All your affable people,
live to honor our folklore.

01:11:12.017 --> 01:11:17.481
For the coming year I long the festival,
dancing Porro I will compete

01:11:17.981 --> 01:11:22.986
drinking chicha in my homeland, until dawn.
Long live my land!

01:11:23.987 --> 01:11:33.997
This is how I will shout!
The bull and the carnival and its reign

01:11:34.998 --> 01:11:47.010
Long live the decimeros who come to sing!
I love you my people and long live your festival!

01:11:55.018 --> 01:11:59.982
I was born in El Carito. I left my town
with the desire to show the world how we love,

01:12:00.983 --> 01:12:03.986
how we feel here. And as the
poet in the Sinu Valley,

01:12:04.987 --> 01:12:09.992
I too dreamed of taking Cordoba, my village,
printed on white paper to people from

01:12:10.993 --> 01:12:16.999
other parts of the world so they could experience
its starry nights filled with candles and fandango.

01:12:18.000 --> 01:12:26.008
Here, I learned to dance and to dream; in this land that always,
always, grants me its breath to sing with the soul.

01:12:46.987 --> 01:12:47.988
No one is capable of loving the unknown

01:12:48.489 --> 01:12:54.703
and to have met the lives of so many anonymous
artists who lay their feelings on each verse,

01:12:54.995 --> 01:13:01.418
each melody, and every movement, is to Discovery
that music is a reflection of their craft.
459

01:13:50.008 --> 01:13:57.516
I did not choose where to be born, God chose for me
and everything revolves around a purpose, a mission.

01:13:58.016 --> 01:14:02.020
We do not sell songs
with songs we narrate the stories of the

01:14:02.312 --> 01:14:04.982
Porro Made In Colombia.