AMERIQUE DU SUD MUSIQUES INDIENNES BOLIVIE* VENEZUELA ARGENTINE *PEROU MEXIQUE*COLOMBIE Paty 17. ae OmmDODArgentine : Ensemble Chorotes de Chako Photo : Habib Hassan Toura/TM SOUTH AMERICA Indian Musics Five centuries after the conquest oftheir lands by the Spaniards, South American Indians are stl attempting, against all odds, to preserve the essential elements of their sacred traditions. Often, today, tle islet of civilsations that were once flourishing, and what is lof, has been distorted by the acculturation of European and indigenous music; but there are also areas, which, forthe time being, are preserved from such dangers, because of Climates or environments that ar far oo inhospitable The benefits ofthe ‘oiscovery” of America may seem obvious from the European point of view, but they are far from clear where the fist inhabitants ofthe “new continent” are cconcemed. A document published by a group forthe defence of the aboriginal peoples of ‘America underlines the fact that “no one can dony that European domination fed 10 the ‘savage and ireparable destruction of tho pre-Columbian aboriginal civilisations, the annihilation of their age-old cultures and their ancestral customs, the extermination of whole populations and the ansiavement of those who resisted colonial domination.” ‘The recordings that have been brought together on this compact disc were not collected “in the Hela"; they were made in Europe in 1992 - in Geneva and Basel, to be more precise, during an itinerant show devoted to South American music of indigenous and ‘mestzo origin, organised by the Ateliers dethnomusicologle de Genéve and Musik der Welt in Basel. Whilst the complement to this CD (South America : Hispanic Music, CO Ethnic / Saga B 6782) illustrates the originality of rural and urban Hispano-American ‘musi, this one gives us some idea of the music ofthe American Indian communities ard of tose who devote themselves to its cause, Laurent AUBERT Translated by Mary Parcoe B 6783 © 1999 AUVIDISuss trom the Aymara agrarian yele Wayte community of north Potos! miei mne cers eens cements eee See geen meio a ayer Sects SEiSiaeden amen eeememas st Sperannen incgririn end anne Src ieee annoy cee steel cr ss SEE A cee 1 Muay horse aarti) akc ay mp ty eer dr, we ha ESSE AS aatiat roe nal ners eneeea ane pene topo ay beret meanest aoe cha ae eee | La gin poneéora wes |B Elba a pastor ns en 1 leigaén esse sscexrm Fitual songs trom the Gran Chaco ‘The Costeroe Chora and Silvia Baro Deut eee nies ‘rn tnd tis een ee eto Segre mace pba ‘Scmoning me nope sma spraspesoe pent aaa Toatepsemamencastercadansiguntelas 1D Toren nc cay ‘stop a ws evan ass eae ahs sb ret a ‘Siti oyn tg Ys cubs sos rsa ey Tague ener ‘aly marae arr nt epns atonp nh sa meena acta Sea eae [Fite yous eesatin cin) © Ouran Pee me Eaeiaceteve arnt pentane mse prestrain Way instrumental music rom Sinamaica ‘Selvegor Monto, EATaraner csi ape pre Sars Ric Cuneta (P Canos del ananecer =) 1 anol ot 209s 1 Legend 2 Santa Vitoria nna Sfonsneanasnn ese 5 Canta don. ota oe otto) Musi ofthe Quecnue and Aymara communities “The Siew ot Pune pepe eter licetarhpbseteemariigeeartorry ‘cy sine fr or sen cnr ba pe sane nt ee Sate ai re aes a a ea Facets om wean trou SS Re eucate nae are ee paweeee a cee ree lee tea ee ‘Evocations Jorge LépeePsiaco ‘Shang neo um anon ste a meats te png i Seeou Tian pit rt no Po ah Tin r,t ‘Soe wenn ar sn fot tg Sg Son ee ne ‘See wins ees anne a (Come Maya, cart de partons ‘stant nce sh para Mn cee Seb en os es Se [i Melodia en oper snes rn ‘he ais a aut any ees ey Meo a pe an ‘Seti ra sve ie een mon et rn ota Spearman remanee sna ataunano toy oaopte at