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X-ORIGINAL-URL:https://bmhcarchive.org
X-WR-CALDESC:Events for BMHC
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BEGIN:VTIMEZONE
TZID:UTC
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TZOFFSETFROM:+0000
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DTSTART:20120101T000000
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BEGIN:VEVENT
DTSTART;TZID=UTC:20191221T190000
DTEND;TZID=UTC:20191221T210000
DTSTAMP:20260427T185407
CREATED:20201102T202025Z
LAST-MODIFIED:20201102T202025Z
UID:564-1576954800-1576962000@bmhcarchive.org
SUMMARY:Melrose Parranda
DESCRIPTION:Experience traditional Puerto Rican holiday caroling with a musical procession and plenty of plena music and dancing during the Bronx Music Heritage Center’s annual Melrose Parranda! We will stop at different “casitas” along the way\, culminating at Rincón Criollo\, the most famous casita of all.
URL:https://bmhcarchive.org/event/melrose-parranda/
CATEGORIES:Parranda
ATTACH;FMTTYPE=image/png:https://bmhcarchive.org/wp-content/uploads/2020/11/Melrose-Parranda-ENG-2019-FV.png
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BEGIN:VEVENT
DTSTART;TZID=UTC:20181221T180000
DTEND;TZID=UTC:20181221T190000
DTSTAMP:20260427T185407
CREATED:20181221T180000Z
LAST-MODIFIED:20181221T180000Z
UID:195-1545415200-1545418800@bmhcarchive.org
SUMMARY:Melrose Parranda
DESCRIPTION:Our annual Puerto Rican-style Christmas caroling procession will travel on foot from casita to casita\, ending at Melrose’s most famous casita\, Rincón Criollo\, aka “La Casita de Chema”.  Featured musicians include Jorge Vázquez\, Bobby Sanabria\, and more.
URL:https://bmhcarchive.org/event/melrose-parranda-12-18/
CATEGORIES:Parranda
ATTACH;FMTTYPE=image/jpeg:https://bmhcarchive.org/wp-content/uploads/2018/12/Flyer-Tabloid-ENGLISH.jpg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20181215T190000
DTEND;TZID=UTC:20181215T200000
DTSTAMP:20260427T185407
CREATED:20181215T190000Z
LAST-MODIFIED:20181215T190000Z
UID:194-1544900400-1544904000@bmhcarchive.org
SUMMARY:Parranda con Paranda
DESCRIPTION:This program will explore European-influenced genres\, such as “la danza” from Puerto Rico and the “quadrille\,” which is practiced among Garifuna communities. The evening will include traditional drum-based music by musicians including Matthew Gonzalez\, James Lovell\, Bobby Sanabria\, and Jorge Vazquez.\nAdmission: $7 | $5 for students & seniors | FREE for kids 12 & under + IG Residents
URL:https://bmhcarchive.org/event/parranda-con-paranda-12-18/
CATEGORIES:Parranda
ATTACH;FMTTYPE=image/jpeg:https://bmhcarchive.org/wp-content/uploads/2018/12/Flyer-ENGLISH.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20171208T190000
DTEND;TZID=UTC:20171208T200000
DTSTAMP:20260427T185407
CREATED:20171208T190000Z
LAST-MODIFIED:20171208T190000Z
UID:164-1512759600-1512763200@bmhcarchive.org
SUMMARY:The 5th Annual Parranda con Paranda: Strings Attached
DESCRIPTION:This year we will look at the styles which use stringed instruments\, including paranda of the Garifuna and la música jíbara of Puerto Rico. Cover charge: $7. Reduced fee: $5 (for students and Intervale Green residents). Children under 12 free.
URL:https://bmhcarchive.org/event/the-5th-annual-parranda-con-paranda-strings-attached-12-17/
CATEGORIES:Parranda
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20170311T143000
DTEND;TZID=UTC:20170311T153000
DTSTAMP:20260427T185407
CREATED:20170311T143000Z
LAST-MODIFIED:20170311T143000Z
UID:136-1489242600-1489246200@bmhcarchive.org
SUMMARY:Bomba Dance Workshop for Women by Oxil Febles*
DESCRIPTION:Learn this traditional percussion-based Puerto Rican dance form through an introductory course with Oxil Febles\, professional Bomba dancer\, instructor and choreographer. Her graduate studies in Fine Arts and innovations in Afro Puerto Rican music and dance have placed her among the top performers and dance teachers in Puerto Rico and the Diaspora.
URL:https://bmhcarchive.org/event/bomba-dance-workshop-for-women-by-oxil-febles-03-17/
CATEGORIES:Parranda
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20161217T190000
DTEND;TZID=UTC:20161217T200000
DTSTAMP:20260427T185407
CREATED:20161217T190000Z
LAST-MODIFIED:20161217T190000Z
UID:129-1482001200-1482004800@bmhcarchive.org
SUMMARY:4th Annual Parranda con Paranda
DESCRIPTION:Each year we cap our Bronx Rising! series with a concert that features traditions from two of the Bronx’s distinct Latino communities: Puerto Rican and Garifuna. This year will celebrate traditions with cuernos (horns)\, mainly the vejigante masked traditions from Puerto Rico (celebrated at Carnaval and the Celebration for St. James)\, and the charikanari and piamanadi traditions (practiced by Garifuna communities in Belize and Honduras\, respectively). With Lucy Blanco\, James Lovell\, Bobby Sanabria\, Jorge Vázquez\, Felix Gamboa\, and other artists\, the event will also include a toy drive for El Maestro’s Three King’s Day celebration. Food will be on sale.\nCelebración de los Cuernos/Festival of Horns\nMasks serve a variety of purposes—they can be used for play\, for celebration\, and for sacred rituals. The Spanish word for “mask”—máscara—tells us a lot about the nature of masks. “Más” and “cara” taken together mean “more than one face” or “many faces.” This second face transforms the face of the user—it conceals the individual’s real face and reveals another. A person may act differently knowing that their true identity is concealed. And in this form they may also take on the sacred or god-like qualities of the character in whose drama they are performing. In Puerto Rico\, masks are worn for different occasions\, but its vejigante masks are quite notable. The masks featured tonight are from the city of Ponce\, which is on the southern coast of Puerto Rico. These vejigantes participate in the pre-Lenten Carnival festivities. This name comes from the Spanish words vejiga\, meaning “bladder\,” and gigante\, meaning “giant\,” because the maskers carry an inflated cow bladder on a stick to harmlessly hit people during the festivities. In Ponce by 1783 the figure of the vejigante was part of the costumed choral groups and masquerade balls organized during Carnival times. Today the vejigantes start their performances on February 2nd\, the celebration of Our Lady of Candalaria.\nThough there aremany characters and figures which are portrayed at Carnival such as the loca and the caballero\, it is the vejigante that attracts everyone’s attention. The masks are made of paper maché and have an animal-like appearance with many horns and monstrous teeth. Though scary in appearance to frighten\, the maskers are clowns and mischief-makers as well–dancing\, singing and chasing participants with their vejiga. Folk tunes called estribillos follow the rhythms of their dances. And in the town of Loiza Aldea vejigantes are part of the July celebrations for the fiesta patronal (feast day celebration) of Santiago Apostol\, or St. James the Apostle\, the town’s patron saint. Devotion to St. James goes back to the 9th century in Spain. However in Loíza\, as the town was isolated for a long time\, the celebration has retained a lot of African motifs brought over by enslaved Africans during the colonial era.\nThe masks are made from coconut husks and traditionally painted in black\, red\, orange and white\, and should have at least three chifles or small thin horns coming out of the top. Wanaragua (literally “mask”)\, commonly called Jankunu\, is essentially a two-fold system of masked professionals that is commonly performed during the Christmas season\, specifically from December 25 to Epiphany\, January 6. Wanaragua is also the name of the principal dance rite of the system.\nIt is a unique synthesis of three cultural traditions: (1) African harvest festivals\, ancestorrituals\, and secret societies\, (2) English mummer’s plays\, and (3) Amerindian (Arawak and Carib) festivals. Charikanari\, the second processional dance\, features stock characters such as Two-Foot Cow\, Devil\, and numerous hianro (men and boys dressed as women). Two years ago at the BMHC we celebrated the wanaragua where Garifuna men adorn themselves with colorful regalia to replicate and mock British military customs through music and dance. Tonight we present\, Charikanari\, or “Two Foot Cow\,” which is the dramatization of a hunting scene. As this masked dance begins\, the observer is introduced to a two footed cow and a hunter (hunta-man) carrying a rifle on his shoulder. As the story unravels\, a harmonica accompanies the rhythmic boom of the Garifuna bass drum (segundo) and the lead Garifuna drum (primero)\, along with periodic blasts on a conch shell trumpet.\nCharikanari begins on December 26 (Boxing Day) and is especially popular among children\, who are particularly fond sof everal stock characters: (1) “Two-Foot-Cow\,” a man wearing cow horns\, a cardboard mask\, a long trench coat\, and padded buttocks\, (2) “Devil\,” a man wearing a red devils mask\, and (3) hianros\, boys and men dressed as women. Occasionally the director of the charikanari group and the drummers perform responsorial songs\, some of which are sexually suggestive in nature or recount comical incidents. Warini and pia manadi\, now quite rare\, are the names of additional rituals previously performed during the Christmas season. Wárini\, the West African-centered\, masked-dance prelude to wanaragua featured men wearing cardboard masks and dressed completely in dried banana leaves. Traditionally\, they appeared only on December 24 and returned on the evening of January 6\, signifying the beginning and end of the wanaragua season. Pia manadi\, believed to be a more direct retention of the English mummer’s plays than wanaragua\, featured stock characters reenacting a death and resurrection theme to the accompaniment of a drum and fife (cane flute). According to records it was last performed in the Punta Gorda Town in southern Belize in the 1970s.
URL:https://bmhcarchive.org/event/4th-annual-parranda-con-paranda-12-16/
CATEGORIES:Parranda
ATTACH;FMTTYPE=image/jpeg:https://bmhcarchive.org/wp-content/uploads/2016/12/December-Bronx-Rising-2016-artwork.compressed.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20151223
DTEND;VALUE=DATE:20151224
DTSTAMP:20260427T185407
CREATED:20201105T131536Z
LAST-MODIFIED:20201105T131536Z
UID:1018-1450828800-1450915199@bmhcarchive.org
SUMMARY:3rd Annual Parranda con Paranda: Puerto Rican and Garifuna Holiday Celebration
DESCRIPTION:For our 3rd annual Parranda con Paranda: A Puerto Rican & Garifuna Holiday Celebration\, we evoke the Puerto Rican traditions of “parrandas”—Christmas caroling processions and the Garifuna “paranda” song style to bring together these two communities. If you listen closely to the big barrel-type drums both groups use\, you can hear echoes of familiar rhythms that call to both. The groups are also connected by a shared home in the Bronx—our borough is the largest Puerto Rican city after San Juan and the Bronx is also the home to the largest community of Garifuna outside of Central America.\nThis year we will focus on the role of women in both musical traditions. Among the Garifuna abeimahani songs are semi-sacred\, unaccompa- nied\, gestured songs only sung by women\, as op- posed to another song type\, arumahani\, which are acapella songs by men; though today ar- umahanis can be performed by women and led by a male singer if there are not enough men pre- sent. During the performances of both types of song\, the vocalists stand alongside each other clasping pinky fingers to the person next to them. These songs are usually a component of the Dugu\, a religious ceremony that is done to communicate with ancestors.\nWhile it is thought bomba may have had a religious significance at a one time now the genre is a completely secular one. It is the oldest of all of Puerto Rico’s music traditions with roots in West Africa. Bomba’s history is associated with the rural areas\, where it developed in the context of colonial plantation life and refers to a variety of music and dance forms which are performed in the context of a baile de bomba (a bomba dance or a celebration also referred to as a bombazo). During the plantation period\, enslaved Africans participated in these dances (bailes) on their day off\, as well as to celebrate baptisms and marriages. The drums used in bomba are called barriles. A bomba group requires at least two or three barriles; a cúa (a pair of sticks struck upon a hard surface) and a single maraca.\nThe barriles that keep the constant rhythm are called the buleadores\, or seguidores while the drum that interacts with the dancers when they perform their piquetes (steps)\, is called the primo or subidor. During the dance\, the dancer creates a dialogue with the drummer of the subidor\, by getting her to respond to her dance movements with her repiques or toques (drum strokes). While traditionally in the purview of the male drumming in the latest generation of musicians\, has many women as active participants. From groups like Yaya\, The Legacy Women Circle\, Bámbula and Ojos de Sofia\, women are bandleaders and drummers as well as lead vocalists and dancers.\nThe musicians playing the traditional music of Puerto Rico have gained a lot of their training in groups and venues based here in the Bronx—with the center of activity being the casita\, Rincón Criollo in Melrose. The casita was started by Chema Soto in the mid-1970s and like the community gardens throughout the City and casita in Puerto Rican neighborhoods elsewhere\, Chema created the casita to reclaim a place for his community amid the devastation. But Rincón Criollo\, or “La casita de Chema\,” as it has affectionately become known as\, is the place where traditional Puerto Rican musicians from here and the island go to hear and play this music.
URL:https://bmhcarchive.org/event/3rd-annual-parranda-con-paranda-puerto-rican-and-garifuna-holiday-celebration/
CATEGORIES:Parranda
ATTACH;FMTTYPE=:
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BEGIN:VEVENT
DTSTART;TZID=UTC:20131219T200000
DTEND;TZID=UTC:20131219T210000
DTSTAMP:20260427T185407
CREATED:20131219T200000Z
LAST-MODIFIED:20131219T200000Z
UID:80-1387483200-1387486800@bmhcarchive.org
SUMMARY:Parranda con Paranda
DESCRIPTION:A Puerto Rican and Garifuna Holiday concert. Featuring Hector “Pucho” Alamo (cuatro)\, Carlos Espada (lead vocals and percussion)\, Matthew Gonzalez (percussion)\, Jorge “Georgie” Vazquez (percussion)\, James Lovell (guitar and vocals)\, Delmo Nuñez (percussion and vocals)\, Julio Nuñez (percussion and vocals)\, Chester Nuñez (percussion and vocals)\, Lucy Blanco (vocals and maracas)\, Gianina “Scarlet” Nolberto (dance).\nThe Christmas season is a very festive time for Puerto Ricans on the mainland and the island. It officially begins on La Vispera de Navidad\, or Nochebuena (Christmas Eve)\, climaxes on El Dia de los Tres Reyes or Epiphany on January 6th and ends with Octava \, eight days after Epiphany. During this time groups of strolling musicians go from house to house on parrandas or trullas navideñas\, sometimes called asaltos\, as people join in to surprise and musically “assault” their family and friends\, in what is basically the Puerto Rican version of Christmas caroling. It is customary to give food and drink to the parranderos who stop by one’s home. The aguinaldo\, or Puerto Rican Christmas carol\, has its origins in the Christmas carols called villancicos which were songs devoted to exalting the miracles of the Virgin Mary\, in Spain.1 The principal characteristic of the aguinaldo is a four line (copla or quatrain)\, hexasyllabic (7-syllable) verse\, or it can utilize the same 10- line structure as la decimal\, which has octosyllabic lines. Puerto Rico has this unique hexasyllabic verse form. Supposedly the name\, aguinaldo\, comes from the fact that carolers used to receive a Spanish coin called an águila (eagle) as a gift for their songs2 so that is why aguinaldos have become synonymous with gifts. During the parranda there is an exchange of music and poetry for food and gifts. Though the villancicos remained popular in Spain\, it is in Puerto Rico that the Spanish hexasyllabic meter really took root.3 Improvisatory singers\, called trovadores\, are accompanied by the cuatro\, a ten-stringed mandolin-type instrument native to Puerto Rico\, a guitar\, bongos\, and a scraped gourd called a guichero or güiro\, and the musicians also serve as the chorus backing up the trovador.\nGarifuna paranda is both a rhythm and a musical genre. The basic drum rhythm goes back to St. Vincent and further back to West Africa. Paranda itself became a genre in the 19th century soon after the Garifuna arrived in Honduras and were introduced to Spanish styles of music which incorporated the acoustic guitar. Paranda therefore has a touch of Spanish rhythms. Paranda is performed on guitar\, Garifuna drums\, shakers\, and turtle shells. Only recently it has been possible to hear Garuifuna communities\,. In 1995\, Belize’s Stonetree Records started the Paranda Project with Andy Palacios and in 2000 released the first paranda album. Either way\, parranda or paranda\, they have similar roots. Some scholars think the roots of the word\, “parranda\,” come from the Arabic\, “farbah” for “joyful celebration” which may also be the roots for the Portuguese\, “farrabadó” for “noisy feast” or “uproar” and the Basque “farra/parra” which means “laugh” or “laughter.” So during this holiday season may you experience “noisy celebration” and “laughter.”
URL:https://bmhcarchive.org/event/parranda-con-paranda-12-13/
CATEGORIES:Parranda
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