{"id":6605,"date":"2026-10-27T14:02:22","date_gmt":"2026-10-27T14:02:22","guid":{"rendered":"https:\/\/accademiaclub.com\/videos\/gugurumbe-version-concierto-2\/"},"modified":"2026-10-27T14:02:22","modified_gmt":"2026-10-27T14:02:22","slug":"gugurumbe-version-concierto","status":"publish","type":"videos","link":"https:\/\/accademiaclub.com\/en\/videos\/gugurumbe-version-concierto\/","title":{"rendered":"Gugurumb\u00e9. Las Ra\u00edces Negras"},"content":{"rendered":"

This content is exclusive to Accademia Club members.<\/p>Become a member<\/a>

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GUGURUMB\u00c9<\/strong>
Las ra\u00edces negras
(concert version)<\/em>
<\/strong><\/p>\n\n\n\n

Fahmi Alqhai, <\/strong>viola da gamba & direction
Quiteria Mu\u00f1oz<\/strong>, soprano
Roc\u00edo M\u00e1rquez<\/strong>, flamenco singer
Dani de Mor\u00f3n,<\/strong> flamenco guitar<\/p>\n\n\n\n

ACCADEMIA DEL PIACERE<\/strong>
Rami Alqhai and Johanna Rose,<\/strong> violas da gamba
Carles Blanch, <\/strong>baroque guitar
Francisco Javier N\u00fa\u00f1ez,<\/strong> harpsichord
Agust\u00edn Diassera<\/strong>, percussion
<\/p>\n\n\n\n

Programme<\/h4>\n\n\n\n

\u201cFlorida estaba la rosa\u201d (Ensalada La Negrina) & Alegr\u00edas de C\u00f3rdoba & \u201cSan Sabeya, gugurumb\u00e9\u201d (Ensalada La Negrina)
Mateo Flecha the Elder (1481-1553) & traditional & Agust\u00edn Diassera<\/em><\/p>\n\n\n\n

Milonga
Traditional<\/em><\/p>\n\n\n\n

La Negra Atilia
Pablo Camacaro (b. 1947). Arr. Fahmi Alqhai<\/em><\/p>\n\n\n\n

J\u00e1cara & Buler\u00eda
Fahmi Alqhai & Dani de Mor\u00f3n<\/em><\/p>\n\n\n\n

Fandangos
Santiago de Murcia (1673-1739) & Fahmi Alqhai<\/em><\/p>\n\n\n\n

Canci\u00f3n de cuna para dormir a un negrito
Xavier Montsalvatge (1912-2002). Arr. Fahmi Alqhai<\/em><\/p>\n\n\n\n

Cachua serranita & Tonada El congo
C\u00f3dice Trujillo del Per\u00fa (c. 1782)<\/em><\/p>\n\n\n\n

Arrangements and adaptations: Fahmi Alqhai<\/strong><\/em><\/p>\n\n\n\n

Summary<\/h4>\n\n\n\n

Accademia del Piacere performs a concert version of the music from Gugurumb\u00e9<\/em>, a show about the influence of Africa and the Americas on Spanish Baroque music, whose choreographed version is staged by Antonio Ruz. With Fahmi Alqhai, Dani de Mor\u00f3n, Quiteria Mu\u00f1oz and Roc\u00edo M\u00e1rquez.<\/p>\n\n\n\n

Gugurumb\u00e9. Las ra\u00edces negras was presented in Nuremberg<\/strong>, Germany<\/em>, at a theatre equipped for concerts and multidisciplinary shows. The production fuses Baroque music, flamenco and contemporary dance, exploring the influence of African music on the dances of the Spanish Baroque.

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Programme notes<\/h4>\n\n\n\n

Un lindo baile ver\u00e9is<\/em>
con que buen rato teng\u00e1is<\/em>
(\u2026)<\/em>
Pero advierte que es guineo<\/em>
enjerto en indio, que all\u00e1<\/em>
todas estas mezclas veo<\/em><\/p>\n\n\n\n

Lope de Vega, \u201cServir a se\u00f1or discreto\u201d<\/p>\n\n\n\n

Gugurumb\u00e9<\/em> is an artistic exploration of Hispanic popular dances from the 16th century onwards: a world strongly influenced by the Black music that arrived through exchanges with the Americas, and which forms the very roots of what is today called flamenco.<\/em><\/p>\n\n\n\n

The influence of sub-Saharan Africa is one of the great unopened boxes of European Baroque music and dance. Whether out of racist and colonial disdain \u2013 as a woke<\/em> postmodernist would say \u2013 or out of contempt for the music of the lower classes \u2013 as a classical Marxist would say \u2013 or because of the scarcity of written sources inherent in music of oral tradition, the fact is that until recently little attention has been paid to the purely musical influence of overseas folklore on European art music at that historical moment. And this despite its being technically quite evident, and historically entirely consistent with the known facts. Not only is there evidence of enslaved musicians of sub-Saharan origin from the time of the discovery of America (in the service of the Dukes of Medina Sidonia, for example), but there are also dozens of written references to how their dances reached the Peninsula. Many arrived by way of the Americas and of a Seville whose inhabitants \u201cresembled chess pieces: as many dark as white\u201d, and in whose squares we know enslaved Black people used to gather: for instance in the square of Santa Mar\u00eda la Blanca, according to the entrem\u00e9s Los mirones<\/em>, attributed to Cervantes.<\/p>\n\n\n\n

In the harmonic and rhythmic revolution that shook the Iberian Peninsula around 1600, unmistakable traces of that music and its dances can be read, infiltrated into the metres and chord progressions that landed in Lisbon and Seville, such as zarabandas, fol\u00edas and guineos. Some came from the African ports themselves, but many more from the American colonies: amid the ceaseless traffic of slaves, gold and goods arrived those dances and songs that globalised popular culture for ever and scandalised the moralists of the day with their sensuality. Lascivious dances that seem to have been brought out of hell by the devil<\/em>, in the words of Rodrigo Caro (1626), j\u00e1caras, passacaglias, chaconas and a whole great troop of this kind<\/em> soon passed from the streets into guitar books and theatrical interludes, and from there into the salons of the aristocracy, but also into the substratum of what we would later call flamenco.<\/p>\n\n\n\n

We will start from the historical musical sources that have come down to us from that Spain, among them parodies such as the Spanish and American villancicos de negros<\/em> (thus Gugurumb\u00e9<\/em> from La negrina<\/em> by Mateo Flecha, which gives the programme its title) and dances such as those chaconas, j\u00e1caras and guineos. We will connect them, through their very rhythmic and harmonic essence, with the dances of flamenco, such as fandangos, alegr\u00edas and buler\u00edas, and take them right up to the shore of our own 21st century.<\/p>\n\n\n\n

Juan Ram\u00f3n Lara<\/p>\n\n\n\n

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<\/p>\n","protected":false},"excerpt":{"rendered":"

Accademia del Piacere performs a concert version of the music from Gugurumb\u00e9, a show about the influence of Africa and the Americas on Spanish Baroque music. With Fahmi Alqhai, Dani de Mor\u00f3n, Quiteria Mu\u00f1oz and Roc\u00edo M\u00e1rquez.<\/p>\n","protected":false},"featured_media":4646,"template":"","tipo":[95],"estilo":[101,105,107],"coleccion":[115],"class_list":["post-6605","videos","type-videos","status-publish","has-post-thumbnail","hentry","tipo-conciertos-en-directo-en","estilo-barroco-en","estilo-obras-de-nueva-creacion-en","estilo-renacimiento-en","coleccion-gugurumbe-version-concierto-en"],"_links":{"self":[{"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/videos\/6605","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/videos"}],"about":[{"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/types\/videos"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/media\/4646"}],"wp:attachment":[{"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/media?parent=6605"}],"wp:term":[{"taxonomy":"tipo","embeddable":true,"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/tipo?post=6605"},{"taxonomy":"estilo","embeddable":true,"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/estilo?post=6605"},{"taxonomy":"coleccion","embeddable":true,"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/coleccion?post=6605"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}