Chief Malambo Officer
The purely Argentinean dancing ensemble Che Malambo enthuses the audience with its percussion dancing and soundtrack. Malambo, a vibrant mix of precise foot work, rhythmical pounding, drums and singing, is at the centre of the traditional gauchos (South African cowboy) and thrills the audience all over the globe with this new creation by the famous choir master Gilles Brinas.
Malambo was introduced to the Paris-based artists when they explored folk-dancing. Brina's Che Malambo was born from the dancing and talents of his exponent to create this strong, impassioned shape to be shared with the world. The Malambo began in the seventeenth centuries as competition battles that demonstrated the skill, power and skill of the gauchos.
Besides Zapateo, Malambo has the drums of Argentinean bombo and twirling boleadora, a tossing gun made of twisted strings and weighed down with slugs. Che Malambo has appeared all over the globe since its debut in Paris in 2007, among them a very succesful 32-day global concert in the 15/16 series.
In autumn 2015 she will return to North America for a finite commitment to the sold-out New York City Center Dance Series, followed by a 2015/16 seasons coastal to shore touring.
Malyambo - Argentine Musik
Malyambo is a manly dancing. In the nineteenth and eighteenth centuries Malambo was the battlefield for Gaucho to show their skill and strength. Mine bonfires, indigenous celebrations and'payadas' were good reasons for outcasts. Performers of the highest calibre were recognized for the difficulties of their dancing moves.
Dancing itself is characterized by a female performer who performs a range of footsteps in a very confined space. As such, these beats against the ground supplement many other dancing, but in Malambo they are the same. It' a unique and truly Argentinean one.
Each' Mudanza' concludes a singular series or a singular character, so that the Malambo contest laureate is the one who can execute the greatest diversity, the most complicated and difficult' Mudanzas'. Those footsteps are accompanied with backgroundmusic, usually a guitars and a drums, and the soundtrack has no priority over the danc.
Many Malambo performers are equal to classical ballettancers when it comes to rhythm, skill, flexibility and expeditious. Every year Malambo performers from all over Argentina meet in a small city in Cordoba known as Laborde to commemorate the "National Festival of Malambo". Malambos real goal is to allow people to speak for themselves.
You have no dancers and the expressiveness comes with verve. There are always two main features in the story of dance: the clap of the palm and the knocking of the toes. It was our own hands and legs that played sound and rhythms before the development of our instrument.
The Incas were very popular with tapping and footdance. Araucanos, Guaranies and many other locals danced similarly. Dance was spreading all over the Americas and took form according to the specific characteristics of the area. Surroundings form the different dance styles, but all of them in one way or another look like the Malambo of today.
Malambo is the most widespread self-portrayal dancer in Argentina. No one knows with confidence the reason why Malambo became so famous, although many have argued that loneliness in the wide countries of the Pampa, loneliness, isolation and the need for self-portrayal play a decisive part.
Malambo's essential ingredient is by far the solid beating of the toes. Whilst one of them remains calm, the other carries out very vigorous blows to the ground, together with a generous orbital movement of the whole knee. They are the ones that allow the dancers to communicate throughout the whole cycle.
Dance girls and dance girls and dancers change between their feets and play characters, one after the other. Malambo is uniquely skilled in every aspect of its work. This top malambotancer can execute unclear circles with both feets and limbs. Whilst Malambo's dance requires the use of limbs and toes, the remainder of the dancegoer' s physical condition is not stabilised except to keep the performer on the floor.
The Malambo-tancer becomes his own organ by playing rhythmically with his lower part of his organ in harmony with what is paid for in a guitars and drums next to him. There is no end to the dance and it only ends when the performer gives up.
In most cases there is a constant dialog between the dancers and those who perform for them, so that the dancers mark the instrumentalist when and how they can take a break, slow down or switch to a faster tempo. In contrast to the tango, Malambo is differently formed in the northern as well as in the southern part.
Southwards, what is known as'malambo certainlyño o pampeano' is a real mirror image of the solitary and isolated wide plains. To a certain extent, this'softer' Malambo fits into a more mystic side of Argentinean music. Pampa Malambo speaks with the natures of its inhabitants, mostly of a more philosophic kind.....
Instead, the north Malambo, formed in a totally different climates and geographies, appears rougher in all its splendour. Extremely bad meteorological and mountain scenery, high altitudes and the reminiscence of the Incan civilization were the main reasons why this Malambo was a more energy dancer. In comparison to the south Malambo, the north one is quicker, more precise and hits harder.
Using bigger and thicker shoes also affected the way this dancing is done, and often the blows from the legs deliberately try to substitute the blows to the percussion. Below you will find a selection of video clips filmed in the hall where RETUMBO Malambo is playing and dancing.