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Tambalagumbá, Juan Gutiérrez de Padilla

"Tambalagumbá" Juan Gutiérrez de Padilla (ca. 1590–1664) _____ From the program notes by musicologist Paul G. Feller-Simmons: " 'Tambalagumbá' [is an example] of the villancico de negros or negrilla, a subgenre of villancicos that aimed to portray the enslaved African people or their descendants. A negrilla generally presents a mixture of languages and accents, as well as onomatopoeic syllables and words to imitate the imagined or perceived speech patterns: a literary construct called habla de negro. The music also incorporates antiphonal and responsorial effects, lively melodies, and syncopated rhythms to characterize the musical features Spaniards associated with the enslaved population. The Christmas negrilla often presented the enslaved population as comic, naive, and devout characters who expressed their joy and devotion to the newborn Jesus, and, in the spirit of the égloga, invited everyone to join them in the celebration of the Nativity. However, the villancico de negros could reinforce colonial hierarchies and stereotypes. It is thus fundamental to keep in mind that the negrilla was not a faithful representation of the African people and their music, but a caricature that reflects the complex relationship between the colonizers and the colonized subject. At the same time, as musicologist Ireri Chávez has argued, the negrilla, sometimes performed by Black musicians, could also recover “defiant voices and expressions of collective identity that amplify the lived experiences of free and enslaved men and women of African descent who resisted or negotiated the restrictive structures imposed by Spanish rule.” Together with other villancico subgenres, such as the villancico de indios and the xacara, the negrilla could mirror local diversity. The Christmas villancico, sometimes paradoxically, became a preferred expressive conduit for the interest of all strata of colonial society." © Paul G. Feller-Simmons and The Newberry Consort. ==== The Newberry Consort Liza Malamut, Artistic Director ___________________________________ To support The Newberry Consort and our artists, please visit: www.newberryconsort.org/donate ___________________________________ Mother of the Americas Catholic Church December 16, 2023 – Chicago, IL Scholarly Consultant Paul G. Feller-Simmons Video by Rafael Porto, CaptuR media Liza Malamut, Artistic Director & sackbut Salomé Sandoval*, soprano & guitar Lucía Mier y Terán Romero, soprano Camila Parias, soprano Luciana Kobe, mezzo-soprano Eric Miranda, baritone Andrés Guzmán, sackbut Christa Patton, harp Rachel Begley, bajón Carlos Cuestas, guitar Jesús Pacheco, percussion Jacob Reed, organ *Guest Artistic Co-Director -------- Estribillo Tambalagumbá Tambalagumbá que ya noso rioso How happy I am naciro sá That he has been born Tambalagumbé Tambalagumbé turu en plocisione Let us all in procession vamo a Belé. Now go to Bethlehem. Ayahu, uchiha Ayahu, uchiha, quien tene candela nos lumblalá The one who holds the lamp will guide our way y ya, y ya, y ya And now, and now, and now tili tilitando lo niño sá. The infant is trembling. Coplas 1. A lo portal de Belene 1. To the stable in Bethlehem venimo negro cuntenta, We Black people joyfully come a hace una plocisione To process together delante la nacimenta. At his Nativity. 2. A lo neglo don Jorjiyo 2. Black Mr. Jorgiyo, que dice tene opinió, Who says he has an opinion, a ese habemo de rogá We must ask him que nos lleve la pendó. To bear our flag. 3. A lo neglo de Vicalio 3. The Black gentleman from Vicario que dice so más honrrazo, Who says he is most honorable, a ese habemo de rogá We must ask him que nos lleve la sensario. To carry the censer. 4. A lo neglo don Biafra, 4. Black Mr. Biafra, Pues que tene bono cala, Who looks so fine A e se habemo de encargá We must ask him La cruz de la cambaca. For the processional cross.