Afro genocide to enrich ourselves and slavery was abolished in Buenos Aires around 1861 and in other provinces in 1853, because the so-called Freedom of Wombs( 1813) was a law statement " for the gallery." We, the academicians, fill our mouths with celebrated and always pertinent theories such as post-coloniality and multiculturalism, always in the avantgarde, but we rarely apply them. It is good to recognize that such a wealth in the past has cemented much of our material and cultural well-being today. Colonial society was slave-dependent. The slaves were used as soldiers in every conflict, from the independence efforts to the Paraguayan War, but they weren ´ t cannon fodder, but so brave that the independence would not have achieved without them. We will never understand the Afro dimension of our music if we do not come to terms with an indissoluble part of our identity, for instance, in this exhibition. In a minimal list, they are worth of mentioning Oscar Aleman, Zenón Rolón, Enrique Maciel, " La Mona " Jiménez, Horacio Salgán, Demetrio Rivero, Fidel Nadal, Rosendo Mendizábal, Gabino Ezeiza, Joaquín Mora and Carlos Posadas, among the many black musicians. Along with the traditional practices, such as the candombe, in the coast and the city of Buenos Aires and its environs, we find two candombe ´ s expressions in Corrientes, another in Santa Fe and other in Paraná, as well as Zemba and Charanda, the songs in the carnival season and the tambora in the Africanized Christian Feast in January 6th. In the Greater Buenos Aires, we also find the Dance of the Saint or Makumba, and the open rumba. As it could not be otherwise, I expressed my dissatisfaction with the authorities and urged that, for remedying the carelessness, the exhibition would give a full account of what it wants to constitute: a tour through the last 200 years of Argentinean music, without discrimination and with all our musical expressions in their respective places. It was done so. If there are no researchers in Olympus, there shouldn ´ t be any detained-dissapeared music. Please, I do not want to live in any more a country of absences.
* Pardo refers to the triracial descendants of Europeans, Amerindians, and Africans. They are neither exclusively mestizos( Amerindian-European) nor mulattos( African-European). the term has been widely used to identify people with brown skin color.
Bibliography Bayer, Osvaldo( Dir.) 2010 Historia de la crueldad argentina: Julio A. Roca y el genocidio de los pueblos originarios [ History of Argentine Cruelty: Julio A. Roca and the Genocide of the Aboriginal People ]. Buenos Aires: Red de Investigadores en Genocidio y Política Indígena Argentina [ Network of Investigators in Genocide and Indigenous Politics Argentina.] English 2010 Un queloides cultural. La memoria oral sobre la esclavitud de los porteños descendientes de negros esclavizados( unpublished). [ A Cultural Keloid. The Oral Memory on Slavery of the Buenos Aires Descendants of Enslaved Blacks ]. Honorable Mention at The Contest of Brief Essays on Historical Research, National Library and General Archive of the Nation. Faberman, Judith 2005 Las salamancas de Lorenza: Magia, hechicería y curanderismo en el Tucumán colonial [ The Salamancas of Lorenza: Magic, Witchcraft and Healing in the Colonial Tucumán ]. Buenos Aires: Siglo XXI. 2010 Magia, brujería y cultura popular: De la colonia al siglo XX [ Magic, Witchcraft and Popular Culture: From
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