Hello,
Today's artists all stem from Bolivia, a country without accesss to the sea in fact a war with Chili saw to that (apparently 2000 miles of beach front wasn't enough) . Seriously the past 200 years all it's neighbours (except Argentina) stole Bolivian territory. But these days they sit on a goldmine (60% of the world's lithium) and some nice natural gas too, hopefully the money is invested well..
xxxxx xxxxx xxxxx xxxxx xxxxx
The Yuras were created in 1972. Its director was Luis Alberto "Lucho" Arias, percussionist and first voice that remained in the group throughout his career, and who completed the quintet with the charango player Ernesto Feliciano, Samuel Willy Calderón on guitar, and the Vientistas Víctor Hugo Flores and Adrián Aruquipa. The name of the group comes from the Yuracaré, an indigenous people that lives in an area of about 2500 km2 along the Chapare River in Bolivia and also have their own language that barely speak 2,500 people, and therefore is in serious danger to disappear. The Yuras are one of the 35 Bolivian indigenous peoples that still live in communion with the land and nature, and that has the peculiarity of burying their dead with their bows and arrows so that they can hunt in the Uku Pacha, the underworld of the deceased.
But returning to the musical group in question, L. Arias changed the constitution of the ensemble integrating in him the famous Juan Jorge Laura and Edwin Rowert, famous musicians who captured their great talent in the group Rumillajta, which later also derived in the no longer so famous Llapaku, Mallku de los Andes and Jach'a Mallku. In this second stage we also counted on the collaboration of the vientista Raúl Chacón, whom we know for his work in Ruphay, the guitarist Freddy Santos later member of the group of E. Cavour and Ruphay, the quenista Pedro Castellón, and the famous Eddy Lima, who already collaborated punctually with Awatiñas, Jach'a Mallku, Grupo Coca or Ruphay, also collaborated with Los Yuras briefly in 1985 and 1989.
The group ceased to exist, or at least stopped recording at the end of the 80s, when they recorded their last works for their LP Music from the Aymara and Quechua andean cultures, a title that is very illustrative and descriptive about the music that Los Yuras they executed, of deep folkloric root and without entering the modern and commercial current that so much distorts the Andean music today.
xxxxx xxxxx xxxxx xxxxx xxxxx
LP of the Yuras in which they collect a single theme of their own: Absence, an irregular motif by E. Feliciano, the rest supposes a set of foreign themes and some traditional ones more or less well executed. The fans will surely know the beautiful folk motif titled Mama india, this time the Yuras interpret it with voices, also creating the mystical atmosphere on which the piece is based. And another folk theme to highlight is Ya I'm leaving, which is nothing but the Castilianized version of K'alampeando that Savia Andina recorded that same year. Pastoral is performed by Los Yuras in an instrumental way where the musical games of the wind instruments stand out, and even some phrases played with the bass. And Cansancio (tiredness) is full of energy in which again we can hear accurate dialogues between the quenas and zampoñas, with rhythmic changes included, all a success.
Los Yuras - Taquiricuna (flac 226mb)
01 Paja Pajita 3:08
02 En las Orillas 3:11
03 Pastoral 3:25
04 Salaque 3:53
05 Cansancio 3:10
06 Mamá India 3:44
07 Chillin Campanillita 2:57
08 Ausencia 3:10
09 Ya Me Estoy Yendo 4:20
10 Tarope 2:59
Los Yuras - Taquiricuna (ogg 89mb )
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The last work of Los Yuras, who took a long break to record it, originally the album is from 1997, although as indicated on its back cover, it includes unpublished material recorded in 1988, as well as pieces re-released from previous albums, such as the famous Hilanderita. and especially Indian Mama, much improved here. As novel songs we should highlight the good phrases of zampoña in Quimera, Khunu and Sicuriadas, which transport us to ancient times, and a simple and short lament entitled Tema de la mina, in which the quena perfectly expresses the disappointment and hardness that lives in the sinkholes. The last highlight of the album are the correct interpretations of the huayños I am going (K'alampeando) and Mi Raza.
Los Yuras of Bolivia "The music that we present on this recording is of the very same roots as the Andean spirit itself; a faithful reflection of the age-old feeling of the Aymara and Quechua cultures, whose richness is voiced through different folkloric expression that are deeply-rooted in the soul of our people. For you, with warm affection, a small bouquet of songs".
Los Yuras - Music From Aymara and Quechua Andean Cultures (flac 286mb)
01 Quimera 'Illusion' 3:13
02 Ajayu 1:15
03 Hilanderita 4:35
04 Imilla 3:39
05 He Venido A Preguntarte 2:31
06 Jacha-Sicu 2:45
07 Ankatuma 0:40
08 Khunu 2:45
09 Caballito Blanco 2:58
10 Chequela 3:33
11 Pa Ja Ra Jita 3:20
12 Sicuridas 4:21
13 Mama India 4:05
14 Tema De La Mina 1:20
15 Yo Ya Me Estoy Yendo 3:55
16 Tata Calamani 3:40
17 Mi Raza 2:54
18 Laimes Pocoata 4:01
Los Yuras - Music From Aymara and Quechua Andean Cultures (ogg 122mb)
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Emma Junaro (born 1 November 1953 in Oruro, Bolivia) is a Bolivian musician. Junaro's style incorporates Brazilian popular music, European folk styles and Andean music. She has worked with the record producer Fernando Cabrero on recording the poems of Matilde Casazola, a poet. Junaro's instrumentation is always acoustic, and has included zampona, charango, quena, piano and guitar.
Emma Junaro, grows and educates by manifesting her talent and vocation for the arts and her preference for singing. Marked by her time as a university student - she studied Sociology at the Universidad Mayor de San Andrés in La Paz - and her deep human sensibility, she was part of the New Bolivian Song movement. She won one of her first prizes together with composer Jesús "Jechu" Durán, in the first University Festival of Social Song, 1980. Time of profound social and political changes in Bolivia, gravitating in the thinking of youth, yearning for freedom and democracy. Since then and since the release of her first Long Play "RESOLANA", released by the record label "CAMPO", Emma's life was music, devoting all her time to develop it. The main theme of that album, "Resolana", became a milestone of popular music and reflects the personality and style of Emma Junaro. After reaching his position as one of the best voices in Bolivian music and having made several national and international tours in Latin America and Europe, she pauses to study singing in Montevideo-Uruguay, with the renowned lyrical singing teacher Nelly Pacheco, experience that drew a clear boundary between the before and after Emma. She had the opportunity and privilege to meet important musicians and singers in Latin America. These experiences have been recorded and confirmed in the innumerable activities carried out in the country and the world.
Her second Long Play, Emma Junaro en Vivo, recorded at the Alberto Saavedra Pérez Municipal Theater in the city of La Paz-Bolivia, 1983 marks another milestone, it is the first popular music album recorded live. Her singing studies in Montevideo-Uruguay, culminated with the Long Play Recording "Si de amor se trata ..." produced, directed and arranged by prominent Uruguayan musicians such as: Fernando Cabrera, Bernardo Aguerre, Carlos Da Silveira. This disc was presented in Bolivia in the first fusion of popular song and Contemporary Dance, directed by choreographer Karim Schmitd. Fernando Cabrera and Emma Junaro challenged all prognosis when deciding to record the Long Play "Mi Corazon En La Ciudad" with the song work of the Poet and Composer Matilde Casazola. Without precedents, it that was edited by British producer Phil Stanton (1994) as the first of a record collection called "Women of the World" from the World Music label "River boat" "To Receive the Song of the Birds" Main theme of the film The same name, directed by the Bolivian Filmmaker Jorge Sanjinés and played by composer-director Cergio Prudencio, marks a new milestone in Emma Junaro's career. Awarded as a movie and as the best song of the year. Her love for popular music, in this French case, was the subject of another challenge. The album "El Paraguas" dedicated entirely to the work of the French Poet Georges Brassens directed by the Argentine musician Daniel Pérez, together with outstanding musicians such as: The Violinist Armando Vera, the Saxophonist Álvaro Montenegro and the guitar and voice of Willy Claure, would give a Touch differently from your work. Her familiarity with the French language, her long stays in Europe would give as fruit that interesting work that opened many doors in the field of Latin American Francophony. "Between two silences" works composed by Maestro Cergio Prudencio, is the album that gathers shared times in the Bolivian Theater.
In 2006, for the first time, the three Junaro bretheren meet to record an album containing compositions of the three, except. Arranged and Directed by the Bolivian musician Nicolás Suárez and the participation of renowned musicians from Bolivia. Whose world premiere was in "The Symphonic Center" of the city of La Paz and later tour of Bolivia. The North American Director David Handel directed it together with the Symphonic Orchestra of Bolivia, performing works of Bolivian composers like "Quiero ser libre contigo" by Jaime Junaro. Inaugurated the Festijazz Bolivia 2011, together with the arranger Jorge Villanueva and the singers Vero Pérez and Melo Herrera. She sang at the concert "Film Music" Directed by Master Willy Pozadas with the National Symphony Orchestra (2012). "Three songs by Matilde Casazola" with The Guitar Orchestra of the National Conservatory of Music, Directed by Maestro Marcos Puña (2013). Concert "Masterpieces of Bolivian Composers of the Twentieth Century", sponsored by the Ministry of Culture and Tourism in Bolivia in the cultural courtyard of the Ministry. Broadcast live on TV Culturas throughout the country. August 2014. Currently part of the duo "Emma Junaro & Marcos Puña and is making the recording of the album" Masterpieces of Bolivian Composers of the Twentieth Century "With arrangements by Marcos Puña, Cesar Junaro, Nicolás Suárez, Ernesto Gutiérrez.
Emma Junaro - Canta a Matilde Casaloza Mi Corazon En La Ciudad ( flac 169mb)
01 Mi corazon en la ciudad 2:02
02 Cuento del mundo 2:58
03 De regreso 5:12
04 El contraste 2:01
05 La sonrisa de piedra 1:53
06 Reloj de arena 1:40
07 La estrella 3:55
08 Tanto te ame 2:45
09 Viento passajero 3:18
10 Como un fueguito 3:02
11 Anochecer 4:33
(ogg mb)
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Zulma Yugar Párraga, (Oruro, January 6, 1952) is a singer of folkloric and political music of Bolivia. Zulema, the youngest daughter, was born in Oruro when her parents worked as rural teachers in the Andean highland communities. "Between them they built me, first poetically and then with music ... My mother was in charge of teaching me how to memorize poems and my father gave me corporal expression classes. And then I started studying piano, at six years old, at the School of Fine Arts. " When she was seven years old, in 1959, she offered his first declamation recital with a repertoire of 35 poems. "They invited me to the Radio El Cóndor auditorium and I was introduced by the unforgettable Abel Flores Mujica. I declared verses of the Tupicenano poet Oscar Vargas del Carpio and the great Peruvian José Santos Chocano, among others. And I also recited my first composition, 'Land without sea'. Now that I remember it, I was already assaulted by conscientious musings. I felt the sadness that I still feel today the children of Bolivia facing the unjust enclosure ".
Her professional career as a singer begins when she is 13 years old. In 1965 the Prefecture of Oruro appointed her to represent her city in the prestigious Lauro de la Canción Festival, where she won a first prize as the "Best Voice of Bolivia". The prize consisted of the recording of a disc. "But Don Laureano Rojas liked my voice in such a way that he doubled the prize by making me record two albums, produced personally by him. He took care of everything: he dressed me in cholita, he took the photos, he designed the covers of the records and he supervised the technical work in the recording studio rigorously ". A year later the election of the Queen of the Bolivian Folklore was summoned, in La Paz, where artists participated girls and adolescents disputing that scepter that also gave a ticket to intervene in the Latin American Festival of Salta. Zulema wins the election by far.
Her artistic career began in the 80s, she even recorded a musical duet with the folk group Savia Andina, for a Bolivian film entitled My partner with the comic actor David Santalla. It was also in the 90s minister of the Ministry of culture, and ambassador of Bolivian national music. Among her best known songs are Brown Skin, Santa Cruz Girlfriend, Condorcito, Goodbye Bitch, Full Moon Night, Palomitay, Ten Pasitos, Quiero, San Borja, From far away etc.
She has served as Minister of Culture of Bolivian President Evo Morales' second term.[1] Zulma is not part of the Democratic Cultural Revolution that President Evo Morales proclaims, as she has been saying, she got lucky and was given the opportunity to continue with the new "Ministry of Cultures" and since January 2010 she has been structuring her office, not giving continuity to the projects the newly Ministry left for her. Yugar served on the jury for the UNESCO programme Masterpieces of the Oral and Intangible Heritage of Humanity and is credited by her friend Mr. R. Albro with lobbying successfully for the Oruro Carnival to be proclaimed a masterpiece in 2001.Yugar has been Director for the Promotion of Culture within the Ministry of Culture, President of the Bolivian Association of Artists and Musicians, and President of the Bolivian National Council of Popular and Traditional Culture. She has received numerous awards and is a UNESCO Artist for Peace
Zulma Yugar - Tierra Sin Mar (Land Without Sea) (flac 320mb)
01 K'oli Pankarita 4:00
02 Pasualita 2:32
03 Morenada Central 3:05
04 Tonada Para Remedios 3:03
05 Bolivia 3:51
06 Carnestolendas 3:33
07 El Trasnochador 3:30
08 Colquechacamanta 2:40
09 Al Pobre 3:11
10 Viva Trinidad 2:58
11 Mariposa Nocturna 3:03
12 Carnaval Orureno 3:54
13 Solo Tu 4:21
14 Seleccion Cochabambina 3:29
15 La Ausencia 4:00
Zulma Yugar - Tierra Sin Mar (Land Without Sea) (ogg 133 mb)
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Today's artists all stem from Bolivia, a country without accesss to the sea in fact a war with Chili saw to that (apparently 2000 miles of beach front wasn't enough) . Seriously the past 200 years all it's neighbours (except Argentina) stole Bolivian territory. But these days they sit on a goldmine (60% of the world's lithium) and some nice natural gas too, hopefully the money is invested well..
xxxxx xxxxx xxxxx xxxxx xxxxx
The Yuras were created in 1972. Its director was Luis Alberto "Lucho" Arias, percussionist and first voice that remained in the group throughout his career, and who completed the quintet with the charango player Ernesto Feliciano, Samuel Willy Calderón on guitar, and the Vientistas Víctor Hugo Flores and Adrián Aruquipa. The name of the group comes from the Yuracaré, an indigenous people that lives in an area of about 2500 km2 along the Chapare River in Bolivia and also have their own language that barely speak 2,500 people, and therefore is in serious danger to disappear. The Yuras are one of the 35 Bolivian indigenous peoples that still live in communion with the land and nature, and that has the peculiarity of burying their dead with their bows and arrows so that they can hunt in the Uku Pacha, the underworld of the deceased.
But returning to the musical group in question, L. Arias changed the constitution of the ensemble integrating in him the famous Juan Jorge Laura and Edwin Rowert, famous musicians who captured their great talent in the group Rumillajta, which later also derived in the no longer so famous Llapaku, Mallku de los Andes and Jach'a Mallku. In this second stage we also counted on the collaboration of the vientista Raúl Chacón, whom we know for his work in Ruphay, the guitarist Freddy Santos later member of the group of E. Cavour and Ruphay, the quenista Pedro Castellón, and the famous Eddy Lima, who already collaborated punctually with Awatiñas, Jach'a Mallku, Grupo Coca or Ruphay, also collaborated with Los Yuras briefly in 1985 and 1989.
The group ceased to exist, or at least stopped recording at the end of the 80s, when they recorded their last works for their LP Music from the Aymara and Quechua andean cultures, a title that is very illustrative and descriptive about the music that Los Yuras they executed, of deep folkloric root and without entering the modern and commercial current that so much distorts the Andean music today.
xxxxx xxxxx xxxxx xxxxx xxxxx
LP of the Yuras in which they collect a single theme of their own: Absence, an irregular motif by E. Feliciano, the rest supposes a set of foreign themes and some traditional ones more or less well executed. The fans will surely know the beautiful folk motif titled Mama india, this time the Yuras interpret it with voices, also creating the mystical atmosphere on which the piece is based. And another folk theme to highlight is Ya I'm leaving, which is nothing but the Castilianized version of K'alampeando that Savia Andina recorded that same year. Pastoral is performed by Los Yuras in an instrumental way where the musical games of the wind instruments stand out, and even some phrases played with the bass. And Cansancio (tiredness) is full of energy in which again we can hear accurate dialogues between the quenas and zampoñas, with rhythmic changes included, all a success.
Los Yuras - Taquiricuna (flac 226mb)
01 Paja Pajita 3:08
02 En las Orillas 3:11
03 Pastoral 3:25
04 Salaque 3:53
05 Cansancio 3:10
06 Mamá India 3:44
07 Chillin Campanillita 2:57
08 Ausencia 3:10
09 Ya Me Estoy Yendo 4:20
10 Tarope 2:59
Los Yuras - Taquiricuna (ogg 89mb )
xxxxx xxxxx xxxxx xxxxx xxxxx
The last work of Los Yuras, who took a long break to record it, originally the album is from 1997, although as indicated on its back cover, it includes unpublished material recorded in 1988, as well as pieces re-released from previous albums, such as the famous Hilanderita. and especially Indian Mama, much improved here. As novel songs we should highlight the good phrases of zampoña in Quimera, Khunu and Sicuriadas, which transport us to ancient times, and a simple and short lament entitled Tema de la mina, in which the quena perfectly expresses the disappointment and hardness that lives in the sinkholes. The last highlight of the album are the correct interpretations of the huayños I am going (K'alampeando) and Mi Raza.
Los Yuras of Bolivia "The music that we present on this recording is of the very same roots as the Andean spirit itself; a faithful reflection of the age-old feeling of the Aymara and Quechua cultures, whose richness is voiced through different folkloric expression that are deeply-rooted in the soul of our people. For you, with warm affection, a small bouquet of songs".
Los Yuras - Music From Aymara and Quechua Andean Cultures (flac 286mb)
01 Quimera 'Illusion' 3:13
02 Ajayu 1:15
03 Hilanderita 4:35
04 Imilla 3:39
05 He Venido A Preguntarte 2:31
06 Jacha-Sicu 2:45
07 Ankatuma 0:40
08 Khunu 2:45
09 Caballito Blanco 2:58
10 Chequela 3:33
11 Pa Ja Ra Jita 3:20
12 Sicuridas 4:21
13 Mama India 4:05
14 Tema De La Mina 1:20
15 Yo Ya Me Estoy Yendo 3:55
16 Tata Calamani 3:40
17 Mi Raza 2:54
18 Laimes Pocoata 4:01
Los Yuras - Music From Aymara and Quechua Andean Cultures (ogg 122mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Emma Junaro (born 1 November 1953 in Oruro, Bolivia) is a Bolivian musician. Junaro's style incorporates Brazilian popular music, European folk styles and Andean music. She has worked with the record producer Fernando Cabrero on recording the poems of Matilde Casazola, a poet. Junaro's instrumentation is always acoustic, and has included zampona, charango, quena, piano and guitar.
Emma Junaro, grows and educates by manifesting her talent and vocation for the arts and her preference for singing. Marked by her time as a university student - she studied Sociology at the Universidad Mayor de San Andrés in La Paz - and her deep human sensibility, she was part of the New Bolivian Song movement. She won one of her first prizes together with composer Jesús "Jechu" Durán, in the first University Festival of Social Song, 1980. Time of profound social and political changes in Bolivia, gravitating in the thinking of youth, yearning for freedom and democracy. Since then and since the release of her first Long Play "RESOLANA", released by the record label "CAMPO", Emma's life was music, devoting all her time to develop it. The main theme of that album, "Resolana", became a milestone of popular music and reflects the personality and style of Emma Junaro. After reaching his position as one of the best voices in Bolivian music and having made several national and international tours in Latin America and Europe, she pauses to study singing in Montevideo-Uruguay, with the renowned lyrical singing teacher Nelly Pacheco, experience that drew a clear boundary between the before and after Emma. She had the opportunity and privilege to meet important musicians and singers in Latin America. These experiences have been recorded and confirmed in the innumerable activities carried out in the country and the world.
Her second Long Play, Emma Junaro en Vivo, recorded at the Alberto Saavedra Pérez Municipal Theater in the city of La Paz-Bolivia, 1983 marks another milestone, it is the first popular music album recorded live. Her singing studies in Montevideo-Uruguay, culminated with the Long Play Recording "Si de amor se trata ..." produced, directed and arranged by prominent Uruguayan musicians such as: Fernando Cabrera, Bernardo Aguerre, Carlos Da Silveira. This disc was presented in Bolivia in the first fusion of popular song and Contemporary Dance, directed by choreographer Karim Schmitd. Fernando Cabrera and Emma Junaro challenged all prognosis when deciding to record the Long Play "Mi Corazon En La Ciudad" with the song work of the Poet and Composer Matilde Casazola. Without precedents, it that was edited by British producer Phil Stanton (1994) as the first of a record collection called "Women of the World" from the World Music label "River boat" "To Receive the Song of the Birds" Main theme of the film The same name, directed by the Bolivian Filmmaker Jorge Sanjinés and played by composer-director Cergio Prudencio, marks a new milestone in Emma Junaro's career. Awarded as a movie and as the best song of the year. Her love for popular music, in this French case, was the subject of another challenge. The album "El Paraguas" dedicated entirely to the work of the French Poet Georges Brassens directed by the Argentine musician Daniel Pérez, together with outstanding musicians such as: The Violinist Armando Vera, the Saxophonist Álvaro Montenegro and the guitar and voice of Willy Claure, would give a Touch differently from your work. Her familiarity with the French language, her long stays in Europe would give as fruit that interesting work that opened many doors in the field of Latin American Francophony. "Between two silences" works composed by Maestro Cergio Prudencio, is the album that gathers shared times in the Bolivian Theater.
In 2006, for the first time, the three Junaro bretheren meet to record an album containing compositions of the three, except. Arranged and Directed by the Bolivian musician Nicolás Suárez and the participation of renowned musicians from Bolivia. Whose world premiere was in "The Symphonic Center" of the city of La Paz and later tour of Bolivia. The North American Director David Handel directed it together with the Symphonic Orchestra of Bolivia, performing works of Bolivian composers like "Quiero ser libre contigo" by Jaime Junaro. Inaugurated the Festijazz Bolivia 2011, together with the arranger Jorge Villanueva and the singers Vero Pérez and Melo Herrera. She sang at the concert "Film Music" Directed by Master Willy Pozadas with the National Symphony Orchestra (2012). "Three songs by Matilde Casazola" with The Guitar Orchestra of the National Conservatory of Music, Directed by Maestro Marcos Puña (2013). Concert "Masterpieces of Bolivian Composers of the Twentieth Century", sponsored by the Ministry of Culture and Tourism in Bolivia in the cultural courtyard of the Ministry. Broadcast live on TV Culturas throughout the country. August 2014. Currently part of the duo "Emma Junaro & Marcos Puña and is making the recording of the album" Masterpieces of Bolivian Composers of the Twentieth Century "With arrangements by Marcos Puña, Cesar Junaro, Nicolás Suárez, Ernesto Gutiérrez.
Emma Junaro - Canta a Matilde Casaloza Mi Corazon En La Ciudad ( flac 169mb)
01 Mi corazon en la ciudad 2:02
02 Cuento del mundo 2:58
03 De regreso 5:12
04 El contraste 2:01
05 La sonrisa de piedra 1:53
06 Reloj de arena 1:40
07 La estrella 3:55
08 Tanto te ame 2:45
09 Viento passajero 3:18
10 Como un fueguito 3:02
11 Anochecer 4:33
(ogg mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Zulma Yugar Párraga, (Oruro, January 6, 1952) is a singer of folkloric and political music of Bolivia. Zulema, the youngest daughter, was born in Oruro when her parents worked as rural teachers in the Andean highland communities. "Between them they built me, first poetically and then with music ... My mother was in charge of teaching me how to memorize poems and my father gave me corporal expression classes. And then I started studying piano, at six years old, at the School of Fine Arts. " When she was seven years old, in 1959, she offered his first declamation recital with a repertoire of 35 poems. "They invited me to the Radio El Cóndor auditorium and I was introduced by the unforgettable Abel Flores Mujica. I declared verses of the Tupicenano poet Oscar Vargas del Carpio and the great Peruvian José Santos Chocano, among others. And I also recited my first composition, 'Land without sea'. Now that I remember it, I was already assaulted by conscientious musings. I felt the sadness that I still feel today the children of Bolivia facing the unjust enclosure ".
Her professional career as a singer begins when she is 13 years old. In 1965 the Prefecture of Oruro appointed her to represent her city in the prestigious Lauro de la Canción Festival, where she won a first prize as the "Best Voice of Bolivia". The prize consisted of the recording of a disc. "But Don Laureano Rojas liked my voice in such a way that he doubled the prize by making me record two albums, produced personally by him. He took care of everything: he dressed me in cholita, he took the photos, he designed the covers of the records and he supervised the technical work in the recording studio rigorously ". A year later the election of the Queen of the Bolivian Folklore was summoned, in La Paz, where artists participated girls and adolescents disputing that scepter that also gave a ticket to intervene in the Latin American Festival of Salta. Zulema wins the election by far.
Her artistic career began in the 80s, she even recorded a musical duet with the folk group Savia Andina, for a Bolivian film entitled My partner with the comic actor David Santalla. It was also in the 90s minister of the Ministry of culture, and ambassador of Bolivian national music. Among her best known songs are Brown Skin, Santa Cruz Girlfriend, Condorcito, Goodbye Bitch, Full Moon Night, Palomitay, Ten Pasitos, Quiero, San Borja, From far away etc.
She has served as Minister of Culture of Bolivian President Evo Morales' second term.[1] Zulma is not part of the Democratic Cultural Revolution that President Evo Morales proclaims, as she has been saying, she got lucky and was given the opportunity to continue with the new "Ministry of Cultures" and since January 2010 she has been structuring her office, not giving continuity to the projects the newly Ministry left for her. Yugar served on the jury for the UNESCO programme Masterpieces of the Oral and Intangible Heritage of Humanity and is credited by her friend Mr. R. Albro with lobbying successfully for the Oruro Carnival to be proclaimed a masterpiece in 2001.Yugar has been Director for the Promotion of Culture within the Ministry of Culture, President of the Bolivian Association of Artists and Musicians, and President of the Bolivian National Council of Popular and Traditional Culture. She has received numerous awards and is a UNESCO Artist for Peace
Zulma Yugar - Tierra Sin Mar (Land Without Sea) (flac 320mb)
01 K'oli Pankarita 4:00
02 Pasualita 2:32
03 Morenada Central 3:05
04 Tonada Para Remedios 3:03
05 Bolivia 3:51
06 Carnestolendas 3:33
07 El Trasnochador 3:30
08 Colquechacamanta 2:40
09 Al Pobre 3:11
10 Viva Trinidad 2:58
11 Mariposa Nocturna 3:03
12 Carnaval Orureno 3:54
13 Solo Tu 4:21
14 Seleccion Cochabambina 3:29
15 La Ausencia 4:00
Zulma Yugar - Tierra Sin Mar (Land Without Sea) (ogg 133 mb)
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links page demands that i turn on javascript.
ReplyDeleteno, Dave, i don't think i will do that