The Afro-Peruvian dances are those created by people of African descent in Peru.
In the colonial era, were slowly adapting to new customs even tried to preserve their cultural heritage, mainly musical, the same that is slowly developing acriollándose and Afro-Peruvian culture itself.

The best expression of joy or sadness of this Afro-Peruvian culture is dancing to the drums of their African ancestors.

From that original blending of indigenous cultures, European and African is born black expressive dances in Peru. Rhythmic language.

Blacks in Peru, with its ingenious joy and rich culture used everything I could suggest to create their music rhythm and dance with the combination of sensuality ritual body language being very important in their movements, with songs and cries, those with deep voices, their hands and bodies, were introduced intelligently in colonial society. At present there is a typical Peruvian black folklore.

Snow Dance Agua'e stomping competition between independent dancers of both sexes together with guitar, with clear drawings of Spanish origin. Practiced in the small north central coast province of Huaral. The main exponent of this genre was Don Porfirio Vasquez guitar with maestro Vicente Vasquez. Don Porfirio was recording this song, which was recorded on the disc "Cumanana" which led Nicomedes Santa Cruz in the 1970s.
http://mx.youtube.com/watch?v=b23nuNxbrKk

Love Genre fine singing competition which involved an unknown number of people. No dancing. Practiced in Lima and northern boy, especially in Aucallama. Accompanied by a guitarist. In the Lima neighborhood of Malambo highlighted in cultivation Don Sancho Dávila Matthew integral and visible head of decimistas known as "the twelve peers of France". He remembers a melody that spread Ascuez Augusto, who claimed that Love Fino is very cheerful. Usually sung at the end of a family or social dance in a circle of eight singers and guitarist with the center. The rule banning repeat the verse that has already been sung. Ends competition to be just one of the singers.

Alcatraz gender Dance Celebration, existing especially in Lima and Ica. It is an erotic dance party, couple loose. Man and woman are in the back of the waist, a cloth, a piece of paper or something similar, the man is a candle light the cone ¨ ¨ while the woman dances moving her hips. Currently in the choreography, the woman comes to burning man. The music is performed by soloists and chorus singers, guitars and percussion, the most well belong to Don Porfirio Vasquez and his son Abelardo as "To the sound of the drum" and "Bold look" respectively.
http://mx.youtube.com/watch?v=vyihD9mOxqY

Dance Dance ombligada front or erotic holiday extinct. Man and woman dancing in a clear reference to fertility. Nicomedes Santa Cruz refers to this dance as one of the primary sources of Zamacueca and / or Sailor Lima. Noting the similarity to sexual initiation dances from other countries such as Cuba and Brazil, where they practiced the "vacunao". A reference to this dance found A. Hesse in Moro in Chimbote in 1977.

Effective Golpe'tierra Baile'tierra or in Sana, Lambayeque. In several South American nations speak of "dancing ground" (especially in Chile) which some are so named to differentiate them from those who danced in Tabladillo or scenario. The song "Black's Combo," sung by Mr. Tana Medina in Sana, is a golpe'tierra, with marked similarities to tondero.
http://mx.youtube.com/watch?v=pc49f3TB6AE

Singing jarana The sailor Lima is known as "song of revelry", in which singers individually or in duo establish a literary and musical competition, respecting a structure.
http://mx.youtube.com/watch?v=7kiuzwvMum4

Conga would zamacueca similarity. Praised and described by Ricardo Palma as an expression created during the revolution of Jose Balta in Chiclayo, however information is so musical that it was present before. Mejía Baca says it is a genre that was cultivated to highlight events or historical events, and can be seen for example in the presence of yellow fever or other events that impact society.

http://mx.youtube.com/watch?v=uHV8_UwRN_o

Form of Celebration Congorito whose main characteristic is the repetition of the chorus that says: "I say congorito, congorito" alternating with various quatrains. Celebration is one of the oldest on record, whose letter was compiled in 1938 by Rosa Mercedes Ayarza de Morales.
http://mx.youtube.com/watch?v=4R5DCSP-wwo

Spanish origin couplet quatrain, sung or recited. Usually built in octosyllabic (most popular verse in the song Peruvian and Latin American) should have been the call originator Cumanana. It tells the quatrain COPLA recited in between the northern seaside.
http://mx.youtube.com/watch?v=Jk_WY36pf-s

Cumanana musical literary genre. Not danceable. Sometimes he sings in competition. The Cumanana is in force in the north coast of Peru (Piura, Lambayeque and Tumbes), having variants between lambayecana (healthy, Batan Grande, Ferreñafe), with the Piura (Morropón) or tumbesinas. Cumanana also sing in the Andean region of Piura (Huancabamba) cutting with Indian melody. As a literary genre can treat all kinds of topics: religion, love, politics, etc.. being important material in the reconstruction of regional history and the popular view.
http://mx.youtube.com/watch?v=oL1lwcL7l3w

Chilean name that is given to the Zamacueca in Chile and which returns to Lima (where the old zamacueca is still practiced). After the war with Chile, at the initiative of Luis Abelardo Gamarra "The Rogue", the Peruvian government declared a new name in honor of Miguel Grau, naval hero of the War: Fishermen.

Genre Dance Habanera of Cuba, in turn transforming a genre originating in the Canary Islands. He returned to Spain joining the Zarzuela, still very popular in Hispanic America. It is one of the rhythms that gives birth to Tango. Its theme is free, specially devoted to the subject of love. Usually a slow, Celera implement its dynamic according to the theme of the text.

Dance Dance Pallas collective female dancing on Christmas and Three Kings Festival in Ica region. The Pallas (Quechua word meaning maidens) or Pastoras danced mainly in the area of ​​El Carmen, the district and its villages in Chincha. The female chorus and solo singing carols woman passes alternating with footwork. It is accompanied by guitar. The dancers wear rhythm sticks, called "lilies".

http://mx.youtube.com/watch?v=256aW5J273c

Tenths literary form that has intense practice among blacks in the entire Peruvian coast, treats all kinds of issues with subtle humor, showing literary skill and ingenuity. When you sing, as Nicomedes Santa Cruz, they were called Socabón. The tenth, usually worked in octosyllabic, rhyming his verses as follows:

A B B A A C C D D C

Such tenth in force in several northern towns: Brando Briones stressed in Sana, Fernando Barrenzuela in Chulucanas (Morropón) and John Urcariegui in Lima.

Standing tenths tenths are forced to start with a quatrain or Copla whose verses end each tenth of a compulsory basis. Don Nicomedes Santa Cruz versa extensively on the subject in the book "The tenth in Peru" (1982). Luis Rocca in his book "A People's History" slogan many tenths, particularly the people of Sana.

http://mx.youtube.com/watch?v=W4qsORoMmtA

Gender musical and dance celebration of erotic-festive type of independent or interdependent couples. Effective in Lima and Ica, Cañete and Chincha especially. William Durand, says it is a dance for couples based loosely on-ventral pelvic movements. Apparently the oldest manifestations of blackness, which led to a series of dances choreographed own (like Alcatraz, the Inga, among others).

The instrumental accompaniment, originally due to be exclusively rhythmic: drums patch on wood or clay jars, pumpkins of different sizes, wooden cowbells and palms. Subsequently enriched with stringed instruments like the guitar and then the guitar.
http://www.youtube.com/watch?v=SEC-79qIotM

Gang bunch of black boys, dance troupe or group comprised male couples popularly organized interdependent to adore the Child at Christmas and is based on the dynamics of Spanish Christmas carols.

It is especially effective in the department of Ica, which is practiced by children and young people under the command of a corporal. He sings and dances to the accompaniment of violin and bells worn by dancers in their hands.

http://www.youtube.com/watch?v=3it27F4lh0w

Voice Ingá onomatopoeic crying of a child, is a collective dance that aligns Festejo gender, as it shows a rhythm similar. It's probably the same rate but with "choreography": a circle of dancers and singers surrounding one in the center who is in his arms a-doll simulating a child-while dancing. Then move the doll to another dancer who dance the ring turn downtown. Although dancing body movement could speak of an erotic dance party, whether you move the doll also indicates a practice to order a game. (Including children)
http://www.youtube.com/watch?v=jd44zuu6DJs

Genre Landau and choreographic whose origin is not yet clearly elucidated. Some researchers assert that the term comes from the voice Lundu. According to Don Vicente Vasquez, the first news I had of Landau was a fragmented version of a proclamation that read "Zamba Malató landau". This song was recorded by Nicomedes Santa Cruz to disk "Socabón", to which Don Vicente Vasquez puts guitar accompaniment. (Interview with Vicente Vasquez, 1978).
Professional music groups to Toro Mata usually considered as belonging to the genus Landau. Remember that Cecilia Barraza recorded a compilation by Soto Caitro a traditional subject area called Toro kills Cañete. However, Cañete area residents identify it as a genre with its own name: "Toro Mata" (1978 Field Research: Chalena Vasquez)
These two themes: Toro Mata and Zamba Malató are taken as the basis for the development (or consolidation rather) the genre known today as LANDO, achieved through compositions and authors as Chabuca Granda Andres Soto.

http://www.youtube.com/watch?v=TnDmjT9Yk5U

Sailor Dance Zamacueca pairs derived from, existing throughout Peru. Even after the war with Chile, zamacueca who had returned from the neighboring country under the name Chilean, became widespread in taste and popular language. Under the circumstances, the Peruvian government, Don Abelardo Gamarra initiative, writer and journalist, has formalized the renaming of the old Peruvian Sailor dance in honor of the Navy and Don Miguel Grau.
The origins of seafaring have reasoned polemics among Africanists, Hispanists and indigenous. Today is a dance that is practiced throughout the country in each region acquired characteristics, the most recognized: the singing sailor or jarana Lima, the northern seaside, the seaside mountain-with variations in each department, the seafaring Arequipa or Pampeña.
Is the Sailor Song Jarana Limeña or where it is found a special participation of black people, who practiced zamacueca. Soloists or duos singing accompanied by guitars, palmas and cajon. Is singing in counterpoint whose literary and musical structure is quite complex and unique in the country. The literary and musical structure can be studied in the texts of Abelardo Vasquez (National Institute of Folklore) in Pepe Barcenas (l990) "His Majesty, the sailor" and Tompkins Thesis (l981). Don Fernando Romero is one of the most serious scholars Limeña Marinera and test how that comes from Zamacueca.

http://www.youtube.com/watch?v=5jSvagbPzb0

Moors and Christians theatrical representation of the battle between Moors and Christians, and morality play that was taught by the Spanish in their eagerness to indoctrination. In some places completely changed the meaning making "beat the Moors against Christians." The recall in the Cañete, Chincha and in Chulucanas. A description of this popular theater shows, is in Erasmus (Sea and Carbajal, 1974)

Mozamala Name a comedy in one act: "The poor girl," in which a lady named Lima Aguilar, danced what at that time called 'Guaragua', which possibly was very similar to zamacueca. "(Toledo, l990) . A Marinera also called "mozamala" for a certain period when dance was considered "indecent" by his court-erotic holiday.

One step This American rhythm broadcast on the radio and the cinema is accepted and practiced Creole environments in Peru, with the character of a fast polka which can be sung on various topics. Philip is known to have in your repertoire Pinglo various compositions of this genre.

Ombligada O "Strike against" ritual-festive dance alluding to fertility. (Inf Axel Hesse, l978)

Same name Panalivio know two kinds of songs specially practiced by black sectors. One of them is a bunch of moving the Negritos, taking into Amador Ballumbrosio and their children the best exponents. They campaign with violin and counterpoint performed footwork. The other version is like a lament Panalivio slow dance-like-habanera-like is the song "A la Molina stopped going."

Dance Pava be extinct indigenous origin. It is said that in the north of Peru was a dance that mimicked the mating of the pre-Hispanic Guan. Some scholars such as Guillermo Riofrio (composer piurano) seen in the background of this choreography piurano Tondero.
Polka Dance from Europe. Was performed in Lima and the coast, having been cultivated by many composers Creoles among which Don Pedro Espinel. However polka decays in practice and now this genre is related to the sport, so much so that almost all football teams have such a polka song.

Song Cry whose function is to provide various products for sale, have been developed by several authors as musically Rosa Mercedes Ayarza de Morales.
Free rate, the Proclamation is characterized by elongated notes and record changes in the voice, effects which seeks to draw the attention of potential customers. He especially remembers the proclamation announcing "hot Revolution".

Part of slippery or Singing Sailor Jarana Limeña. It is said that is named for the type of step dancing, the typical "escobilleo" which is like "slip" feet. But elsewhere called refalosa, possibly coming from the verb "refalar" which means removing a garment, shed something "old Castilian. Likely that his original name was refalosa and then was changed.'s Refalosa or Slippery was an independent dance, currently in Peru is always following the Marinera Lima. movements for greater festive character-erotic and other references, the choreography would have greater similarity with Zamacueca. (see Romero, l988: 231)

Song Saña town of the same name starring soloist and choir. It is characterized by its anticlericalism as indicated by the historian Luis Rocca. It consists of three distinct parts, the first part slow, which is the proper or healthy Zaña (spreading the choral version that did R. Alarco), a second call also glosses and third or leak. This would result in the same structure as we know Tondero today. (Rocca, Luis, 1985:120)

According Socabón Nicomedes Santa Cruz was named to the Tenth sung. (Santa Cruz, l974) says Don Fernando Romero is a dance of black Peruvians, that ran only in the sheds where they used to live, without instrumental accompaniment and measured only by a wordless chant.
"It was banned by the lascivious choreography but secretly continues bailándose (...) The guitar playing was called Tunnel (sic) little monotonous pace and it was the same for all the tithe" (quoted in Muñoz Erasmo : F. Romero, l988: 245)

They are devils dance originating in Lima in Corpus, and goes on to be Dance Carnival. Represents the devil (with masks, tails, tridents) and out through the streets like a parade commanded by Caporal until the 40s. (Vicente Vasquez. Entrev. L978)
The choreography included stomping past and acrobatic moves and shouts to scare passersby. Was accompanied by guitars, box and donkey jaw.

This dance has been rebuilt in the 1980s and is danced today in Lima for several sets.
Dancing couples Tondero independent force in Tumbes, Piura and Lambayeque. Morropón (Piura) and healthy (Lambayeque) vying to be the original source of Tondero. Both places are important settlement of black people. In Sana said the voice comes Tondero LUNDERO, it would be to nominate who played or practiced LUNDU as one of the most important songs or sound-Zana-containing chorus repeatedly as "Al lundero gives ", or" gives lundero "to lundero gives, healthy!, to give lundero"

Thus, a first part of this song slowly sings wryly various facets of everyday life of healthy - they call this part viciously then enters with the fast pace and syncopated beat Tondero-in drawer or on the Czech- Tondero called. Some scholars see the choreography of tondero associated with an indigenous dance movements imitating Guan pairing of Hispanic origin. (See Pava, in this document).

Sad to drain tondero musical form consisting of a slow part yaravi and very similar to that in the north is called sad, melodic turns of Andean origin, apparently a variant that becomes the Harawi both sides with quick-entry staffs and compulsory feature, which could become a drumbeat or marímbula (without being tested this hypothesis yet). As a musical genre is one of the clearest signs of interbreeding indigenous African Hispanic.

Importantly comparatively harmony Tondero bimodal (high-low) and money that may be in pentatonic melodies, elements that emphasize the indigenous nature of this musical form.

Toro kills and Cañete Song collected in guava (Chincha) (see: Tompkins, l981), released commercially as belonging to the genus landau, although Cañete is considered as a genre. There are several versions of Toro Mata, collected by l975 and l976 Tompkins between. This researcher devotes a chapter of his thesis (Chapter 10) in this genre, consigning five versions, and an analytical commentary on the same. (Tompkins, l981: 306-324)

Valse Valse or Waltz, widely European genre in America. The transformation of this kind leads to the formation of Peruvian criollo waltz rhythm characteristics from popular practice-especially blacks-are particularly syncopated. This feature is accentuated in the presence of accentuating CAJON patterns play between 6/8 and ¾. So that the palms are current binary rhythm, while the dance is still ticking ¾. The instruments played interchangeably with ¾ and 6/8, so the emphasis of the text to sing. Don Cesar Santa Cruz has done work on the vals criollo and showcases the different influences that have influenced its evolution (Santa Cruz, l989) and Llorens (l983) refers to the genre and its development in l900-l940 Lima between .
Song for Christmas carol, of Spanish origin. Some incorporated into dances contain allusions to various topics and not just the religious, as in the pack of Negritos, and Pallas, in Ica (Vasquez, l982)

Associated song many times pastors, dedicated to the Birth of Jesus, this genre is in country dances, as well as those representing shepherds. (Vasquez, Ch Inv. Countryside. Cusco, l984)
Yunza is named for one of the events of the Carnival which decorates a tree and take turns in pairs to cut it with an ax falling. Yunza song is "Huanchihualito" is interpreted in guava, Chincha, with songs that are improvised various alternating with the refrain of "huanchihualito, huanchihualó / for lover just me" ... echoed by dancers in wheel.

Zamba Landau is a piece of genre Landau. Whose chorus says "Zamba-malate landau", which was rebuilt to a recording in the 60s. Don Vicente Vasquez created the guitar accompaniment. (See Landau.)

Genre Zamacueca before the Sailor, apparently was a widespread dance from the capital of Peru, to Bolivia, Argentina and Chile. Don Fernando Romero (l939) shows that it is this same dance that gives rise to the Sailor, and gives an etymological approach in his work on Afronegrismos. (Romero, l988: 274). They danced in the festival Amancaes late nineteenth and early twentieth centuries. Cutting is a dance festival that was erotic censored by their movements "daring" (Toledo, l990). Victoria Santa Cruz reconstructs the 70s, modeled the clothing that appears in the watercolors of Pancho Fierro and references Argentine musicologist Carlos Vega. Currently known zamacuecas some created especially for the show, but not in the spontaneous popular practice.

The Afro-Peruvian Zapateo footwork is a competition between dancers to the beat of Afro-Peruvian box and guitar of Arab origin. The stomping Afro Peruvian dances originated in Africa. It is divided into Zapateo in Major and Minor, defined by guitarist Don Vicente Vasquez, who continued his father, Don Porfirio Vasquez recorded the main melody of this musical form. The stomping past have a regulation as competition game. The Afro-Peruvian zapateo requires training and skill, and is usually limited to groups or individuals who practice music and dance professionally, but it is important to note that this form of music and dance company practiced in the festivities of the pack of Negritos in south of Lima and in the dance of Pallas in the department of Ics.