– By Don Macica –
One of the highlights of last year’s World Music Festival Chicago simply did not get heard by enough people, even with two shows. But that’s OK. One of the roles of the fest has always been to introduce artists to Chicago for the first time, paving the way for a return visit. Fortunately, Chicago didn’t have to wait long for the return of Betsayda Machado y La Parranda El Clavo.
The group is again doing two shows, both presentations of the Extended Play partnership between the Old Town School of Folk Music and Segundo Ruiz Belvis Cultural Center. They’ll be joined at SRBCC on Saturday 3/24 by Chicago’s Bomba con Buya for the center’s annual Abolition of Slavery in Puerto Rico celebration, and the Old Town School will present them Sunday 3/25. The school is offering an Afro-Venezuelan Dance Workshop that Sunday afternoon as well.
All Afro-Latin music shares a common root which is, of course, Africa. The reasons for the considerable variances in sound and rhythm are multiple. First, Africa is a continent, not a country. The kidnapping of African people for the slave trade drew from seven distinct cultural regions over several centuries. Secondly, there were five European powers colonizing the Americas, each with their own customs and traditions. Lastly, you had the influences of whatever indigenous traditions survived the initial colonization, before the slave trade began in earnest.
All of which is to say that, when I first heard the music of Betsayda Machado y La Parranda El Clavo, it was both familiar and different. El Clavo, it should be noted, is a village in Venezuela, not a variation on the clave rhythm that is at the center of Afro-Cuban music. Like the town of San Basilio in neighboring Colombia, El Clavo was founded by escaped slaves. The residents trace their heritage back to what is now Senegal in West Africa. Because of this, you can hear some of the Senegalese sabar style of drumming in La Parranda El Clavo’s music. But you’ll also hear the call and response vocals of Cuban rumba and Puerto Rican bomba, originating in Central Africa. And where sabar almost exclusively uses high pitched drums rapidly hit with sticks as well as hands, La Parranda El Clavo’s rhythms also have a deeper bottom that supplies a pulse.
And then there is Machado herself, who cites Cuba’s Celia Cruz, Colombia’s Totó La Momposina and Cape Verde’s Cesaria Evora as influences on her powerful voice.
I thought I heard similarities to bomba when listening to the group at last year’s World Music Fest. The SRBCC show with Bomba con Buya will put that theory to the test, and I’m hoping the groups will play at least one song together. Regardless of whether or not that happens, I’ll be at both shows again this year, and might even bring my two left feet to the dance workshop.
Afro-Venezuelan Dance Workshop with La Parranda El Clavo
Sunday, March 25, 1:00PM, Old Town School of Folk Music. Info & tickets…