9 December 2009
By Carlos Luis Mejía, Translation by Francisco Cedeño, Photography by Flor Marenco and Oliver Best
Masaya, Monimbó, folklore, Santo Domingo the hípicos (horse parades), and more, are all common things that come into the minds and hearts of Nicaraguans when we hear the unmistakable sound vibrations of the marimba.
Many people in this country have stereotyped this musical instrument as being exclusively related to Nicaraguan folklore. There are a few musicians however, who consider the marimba a special instrument able to adapt and mix with any musical genre, from electronic to jazz and even rock music.
One example of this is the outstanding Nicaraguan band Momotombo, who has recently been experimenting with a new sound: the Morolique, which uses loops and snippets of typical Nica songs mixed with spacey sounds and electro beats. There is also Tamuga, which has gone to great lengths to share their unique acoustic mixture of folklore and funk. And the latest is La Cuneta Son Machin, a band that combines cumbia, rock and traditional marimba sounds. All these bands and more have made the people jump up and take notice of what is possible with this traditional instrument and sound.
Internationally there are numerous other bands doing innovative things with the marimba, such as Zafri Duo or Molotov with their song “Gimme the Power.” Jazz musicians have also used the vibraphone or the xylophone (both close relatives of the marimba) for many years.
But, what is its origin?
The origin of the marimba is still under discussion. There are two prominent theories, one traces the origin back to African xylophones before the 14th century, but other evidence has shown similar instruments were found in Asia in the 9th century. It is thought that the first xylophones to exist in Central America were brought over from Africa, where the instrument then evolved into the marimba. At its inception, the marimba was a group of different sized wooden bars mounted on a frame that were struck to produce rhythms. Overtime it has evolved to become an instrument, at the same time, both melodic and percussive.
The bow marimba is the earliest marimba on record in Central America. It is a diatonic instrument. To use the piano as a reference, it is like having only the white keys. A marimba is made with a wooden frame on which rests a thick row of keys. A very flexible and resilient arc connects the two ends of the instrument.
Instrument capable of adapting and mixing
Maria Jose Silva, better known as Mache Ocarina, a talented young marimba player from Masaya who started playing the instrument about 20 years ago, says that the desire to make something different and the global influence on younger generations of musicians has allowed an evolution of the marimba as well as the way it is played. “Although the bow marimba sound has a limitation by not having the intermediate notes between each note, you can do wonders. I’m composing songs that aren’t within the folkloric and traditional music scheme. Even with folkloric songs, you can make adaptations completely different.”
Those who are proud to be part of this culture and history, enjoy the sound and smell of the woods that ring out in the Rubén Darío Theater, in Managua night bars, cultural events, weddings, first communions and all sorts of celebrations.
Singing woods
Elizabeth Gallo, director of the Flavio Galo School of Marimba, created by the Galo family of great musicians, says that they teach the dual keyboard marimba because in Nicaragua it was being forgotten by a younger generation. However now she says many young people, especially women, are very interested in learning this instrument. “I feel that we have provided an important grain of sand to Nicaraguan culture in the labor of rescue of this marimba. Many young people who studied here, now include the marimba in their musical groups or in other similar activities.”
Not only have the greatest Nicaraguan composers and songwriters, such as Victor M. Leiva, Otto de la Rocha, Los Mejia Godoy and the recently deceased Camilo Zapata, used the marimba in their concerts and recordings, so do the new generation of songwriters: Moisés Gadea, Katia Cardenal, Ofilio Picon and Camerata Bach, who accompanied the marimba with violins, violas and cellos to record the album “Singing Woods,” a collection of Nicaraguan and Latin American songs.
Adversity
It seems adversity precedes the marimba’s evolution. Despite the dedication of a few, such as the Flavio Galo School, the lack of investment in the country to preserve cultural heritage has led to a lack of formal training to learn the marimba and its history, thus impeding the professionalization of the instrument. However, for marimba players the fight will not stop, they will not faint nor be ashamed to carry on their backs this instrument that fills them with great pride and represents their roots and culture.
The marimba has gone on from being an instrument exclusive to the indigenous community to become a national pride. It has played the sounds of the earth, the international hits and songs of the classical repertoire. It has sounded in the cornfield and in the concert hall. Most importantly, it hasn’t stopped playing all this time, it has remained the sound that fills the streets and the celebrations.
I should really be working but just thought I’d say a quick hello from Scotland.
Kudos from one brainiac to another.