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TRADUCCIÓN REALIZADA POR |
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BAMBERA, f. [Bamba, and that of bamb, onomt.'s Swinging.] Song with copla, four verses (8 syllables), or sometimes the first and third 7 syllables and the second and fourth 5 syllables. Comes from the Andalusian folklore and is one of the clearest examples of flamenco influence on songs.
In its origin it is purely rural and derive from the habit of accompanying singing, swinging or wobble of swing, as evidenced Covarrubias, in his Treasures of the language: "In Andalucia the Young girls have a common game, they play the tamborine and are singing while swinging in the columpio (swing)",
José Bisso, in his Chronicle of the province of Seville, describes the custom of vampas or bambas: "Vampa is a double columpio that swings in its suspensions from a thick tree, normally a walnut tree, and is connected by a fairly resistant table; the singing couple is placed on it while it is running, rocking forwards and backwards to keep it running helped by another couple.
Normally the couple running the columpio were answered by the couple sitting on it; but the original is that lovers saved all their complaints for these occasions, their jealousy and with a lively imagination and insightful, expressive improvised song , a time when median counterclaim and love words or resentments, or containing slight expresions of passion."
Father Luis Coloma, in its Schedule of Customs , also referred to the singing around the swing. Accompanied by guitar, and in a courtyard during the carnival festivities, a tradition that also is mentioned by other authors, including Blanco White – English Letters - and Armando Palacio Valdés - Majos of Cadiz - giving them an urban setting.
It was disclosed as flamenco by La Niña de los Peines, recorded on discs and made popular, then afterwards it was interpreted by a number of singers, each making it with different nuances, but always within the rhythm marked by the first.
Jose Luis Buendía, has valued the contribution that has led to the acquis Flamenco bambera through La Niña de los Peines: "La Niña de los Peines, as she did with many other samples of Andalusian singing, welcomed these letters, docked in the beat of a solea lightened in her pace with the masterness and sweetness that only she had, and made this beautiful transfer that has been repeated many times in the Andalusian cante jondo. Host within the folklore of neighbouring regions and make it more flamenco and give it depth, some lirycs are unmistakable for generations to come, that´s the beautiful artistic result.
Pastora named them bamberas. Slipping, once again the basis of the term, which is nothing but the well-studied bamba. The legacy of Pastora by bamberas might have been for a more remote posterity, and usually not immediate to the personality of its creator, if we look at the old records, we see that it is not a song that was sung too often formerly, but without doubt however, when a good grain is rooted in a adecuate land, the harvest will come. And gradually widening the basis of singing, and sometimes even breaking with its stylistic monotony, there come new generations that are very acceptable recreations of singing by bamberas ...
The rhythm of Flamenco solea with the bambera, complemented in the ground of poetic rhythm with two kinds of compositions: either a quatrain where the second and fourth lines rhyme with each other , leaving free the odd and repeating some verse (usually the latter) to be sung, which is the most common in the old song of Pastora and its immediate followers:
"Between sheets of Holland /
quilt of crimson and (aa) /
my child is sleeping /
that looks like an angel" ,
or, conversely, the composition grows in the form of quintilla in which it is not a recurrence of one verse, and the full range accommodates the compass to mark the singer:
"You are one and two
you are three and you are fifty
you are the largest church
where toíto the world comes
toíto the world but me."
Numerous recordings of songs performed by bamberas in recent times, do not correspand with the minimum of interpretation that is done in the festivals, recitals and tablaos style. |
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