View allAll Photos Tagged candombe
tambores en proceso
taller de joan, cerro de montevideo, uruguay
candombe drums on the way
joan's workshop, cerro de montevideo, uruguay
El bajista Daniel Maza en concierto en Teatro Vera (Corrientes) en el show de Ligia Piro presentando "Trece Canciones de Amor". 9 de agosto de 2008
Carlos Páez Vilaró (1 November 1923 – 24 February 2014) was a Uruguayan abstract artist, painter, potter, sculptor, muralist, writer, composer and constructor. Carlos Páez Vilaró was born in Montevideo, Uruguay, in 1923. He took up drawing in 1939 and relocated to Buenos Aires, where he worked as a printing apprentice in the industrial Barracas section of the Argentine capital. Returning to Montevideo in the late 1940s, he developed an interest in Afro-Uruguayan culture. Settling in Montevideo's primarily black tenement of "Mediomundo" ("Half-World"), he studied the Candombé and Comparsa dances characteristic to the culture. He purchased a sea-front property on eastern Uruguay's scenic, then-desolate Punta Ballena in 1958, building a small, wooden lodge that over time became "Casapueblo" ("House-Village"). The sprawling compound, a whitewashed cement citadel reminiscent of Mykonos, was built in stages by the artist to resemble the mud nests created by the region's native hornero birds, and became his home, atelier and museum. Though he resided in Casapueblo - his "livable sculpture" - by 1968, Páez Vilaró continued to add on to the structure, at times creating a room for a particular guest. He later opened a section of Casapueblo to tourism as a hotel. Increasingly well-known, Páez Vilaró was commissioned in 1959 to create a mural for a tunnel connecting a new annex to the Organization of American States' Washington, DC headquarters, the Pan American Union building. Originally intended to be no more than 15 metres (49 ft) in length, the completed mural (Roots of Peace) measured 155 metres (509 ft) long and nearly 2 metres (6 ft 7 in) high when unveiled in 1960. Extensive damage from humidity prompted the artist to repaint the mural in 1975. He continued to create murals and sculptures for various government offices, corporate headquarters, private homes, and other buildings. He created 12 murals in Argentina, 16 in Brazil, 4 in Chad, 3 in Chile, 4 in Gabon, 11 in the United States, and 30 in his native Uruguay, as well as a scattering of works elsewhere in Africa and in the Polynesian islands.[9] He also designed a non-denominational chapel for a cemetery without crosses or headstones in San Isidro, Buenos Aires and rebuilt an abandoned house in nearby Tigre in 1989 in the manner of Casapueblo; he considered the San Isidro chapel his "greatest work". In his last years the artist divided his time between Casapueblo and "Bengala," his Tigre residence. On 24 February 2014, Páez Vilaró died at the age of 90 at his home Casapueblo, in Punta Ballena. His son stated in reaction to his father's death: "I hope he rests in peace. I've never seen a guy who works that much, and I mean it. He worked up until yesterday."Casapueblo is a building constructed by the Uruguayan artist Carlos Páez Vilaró. It is located in Punta Ballena, 13 kilometres (8 mi) from Punta del Este, Uruguay. Initially, it was the artist's summer home and workshop, and includes a museum, an art gallery, a cafeteria and a hotel in its facilities. It was the permanent residence of its creator, who worked and spent his last days there. Casapueblo began to be built in 1958 around a wooden box made with planks found on the coast, called La Pionera (The Pioneer), by Carlos Páez Vilaró. This box was his first atelier. Casapueblo was designed with a style that can be compared to the houses on the Mediterranean coast of Santorini, but the artist used to refer to the hornero’s nest, a typical bird of Uruguay, when referring to this type of construction. The building, which took 36 years to complete, has thirteen floors with terraces that allow an optimal views of the sunset over the waters of the Atlantic ocean. It houses a tribute to Carlos Miguel, the artist's son and one of the sixteen survivors, all of whom were Uruguayan, of flight 571 of the Uruguayan Air Force plane crash, which crashed in the Andes on October 13, 1972. Carlos Páez Vilaró has received some of the most important personalities from the cultural and political field, such as the writer Isabel Allende, the ambassador Mercedes Vicente, the sexologist Mariela Castro, the artist Vinícius de Moraes, among others. The building was built of whitewashed cement and stucco. It was built in an artisanal way and without previous plans, in the form of a maze, does not have straight lines inside and the color white predominates. It was expanded and modified from year to year as a residence in "unpredictable ways". To 2020 the Casapueblo Hotel has 20 rooms and suites and 50 apartments, a hot pool, sauna, bar, and restaurant. The high season is from December to February. The apartment hotel called Hotel Casapueblo or Club Hotel Casapueblo has a restaurant called Las Terrazas (The Terraces) that follows the style of the original construction. In the main dome of Casapueblo are the museum and workshop, where one can see part of the work of the late painter, potter, sculptor, muralist, writer, composer and builder Carlos Páez Vilaró. It has four exhibition rooms: Nicolás Guillén Room, Pablo Picasso Room, Rafael Squirru Room, Sala José Gómez-Sicre, projection room, the Terrace of the Mermaid, the Mirador del Hipcampo (Hippocampus Lookout), the Taberna del Rayo Verde (Tavern of the Green Ray) cafeteria and a boutique. The museum can be visited every day from 10 am to 6 pm. Every afternoon since 1994 the Sun Ceremony has been held on the museum's terraces. Minutes before sunset, the artist's voice from a recording, dedicates a poem to the sun to bid farewell to it.
Artista irrepetible, único e inimitable, es hoy por hoy uno de los maestros del candombe del Uruguay, estilo rítmico Afro-uruguayo, declarado recientemente "Patrimonio Cultural Inmaterial de la Humanidad" por la Unesco.
History goes that during the days of the Spanish colony, many African men and women were brought to America as slaves in order to fulfill tasks at the houses of the most remarkable families in Montevideo.
When slavery was finally abolished, these Uruguayan citizens began to form new groups and thus they gave shape to the neighborhoods popularly referred to as "Negro neighborhoods"...
Candombe was the rhythm that not only joined them together but also reminded them of their African past and held them close to their origins, to their history.
Ref: www.welcomeuruguay.com/montevideo/llamadas-of-montevideo....
Camera: LEICA Q
Lens: 28 mm f/1.7
Focal Length: 28 mm
Exposure: ¹⁄₂₅₀ sec at f/1.7
ISO: 800
Il Candombe è l'elaborazione di ritmi e balli che risalgono all'epoca della schiavitù. Tutti gli anni si svolgono, per carnevale, dei cortei ai quali prendono parte i migliori gruppi (circa 40), scelti per meriti precedenti o per concorso. La partenza avviene dietro casa nostra e queste foto si riferiscono ai gruppi che si assemblano o esercitano prima della partenza.
History goes that during the days of the Spanish colony, many African men and women were brought to America as slaves in order to fulfill tasks at the houses of the most remarkable families in Montevideo.
When slavery was finally abolished, these Uruguayan citizens began to form new groups and thus they gave shape to the neighborhoods popularly referred to as "Negro neighborhoods"...
Candombe was the rhythm that not only joined them together but also reminded them of their African past and held them close to their origins, to their history.
Ref: www.welcomeuruguay.com/montevideo/llamadas-of-montevideo....
Camera: LEICA Q
Lens: 28 mm f/1.7
Focal Length: 28 mm
Exposure: ¹⁄₂₅₀ sec at f/2.0
ISO: 800
4 settembre 2011 Castel San Pietro Terme, Teatro Arena
"Nostalgia del presente"
SILVIO ZALAMBANI & GRUPO CANDOMBE
Silvio Zalambani, sax soprano e arrangiamenti
Vittorio Veroli, violino
Donato D’Antonio, chitarra
Massimo Mantovani, pianoforte
Tiziano negrello, contrabbasso
SANDRA REHDER voce
Musiche di Zalambani, Blázquez...
Buenos Aires, 23 de Agosto de 2015 - El cantante, compositor y músico uruguayo Rubén Rada presentó su disco “Tango, milonga y candombe” el domingo 23 de agosto en el auditorio La Ballena Azul del Centro Cultural Kirchner, como parte del ciclo Música del Sur.-
Fotos: Manuel Pose Varela / CCK
A candombe group marches in Barrio Sur. These are the same kinds of drums that Uruguayan fans brought to the stadiums of South Africa to cheer on the Uruguayan side to the semi-finals during World Cup 2010 matches.
Read more about Uruguay's street drumming culture here: www.perceptivetravel.com/issues/0710/uruguay.html
History goes that during the days of the Spanish colony, many African men and women were brought to America as slaves in order to fulfill tasks at the houses of the most remarkable families in Montevideo.
When slavery was finally abolished, these Uruguayan citizens began to form new groups and thus they gave shape to the neighborhoods popularly referred to as "Negro neighborhoods"...
Candombe was the rhythm that not only joined them together but also reminded them of their African past and held them close to their origins, to their history.
Ref: www.welcomeuruguay.com/montevideo/llamadas-of-montevideo....
Camera: GR II
Lens: GR LENS
Focal Length: 18.3 mm
Exposure: ¹⁄₆₀ sec at f/2.8
ISO: 800
"Defendamos la cultura del candombe. Volvamos a la tradición y rescatemos el sentido de la danza. Recuperemos nuestra identidad", pidió en voz alta el músico y maestro afroamericano de la Escuela de Candombe de San Telmo Diego Bonga, mientras sonaban los tambores de fondo y desfilaban las comparsas por la calle. Es que se estaba celebrando la 1° llamada de Candombe Independiente de Buenos Aires que se llevó a cabo ayer en el barrio porteño de San Telmo y en la que participaron diferentes grupos de aquella danza de raíces africanas. "Nosotros defendemos y valoramos el legado cultural afroamericano, por eso participamos de esta actividad", sostuvo a ANRed Bonga, también líder del grupo de capoeira de Angola Liberación.
fuente: anred.org