Traditional maracas of totumo calabazo special for Cumbia Colombiana


Characteristics:

  • In pumpkin and seeds from Colombia.
  • Carved with floral motifs.
  • Finish: Varnish
  • Case: not included, please consult.
  • Warranty: 3 months.
  • Maintenance or After Sales Support: no, please consult.
  • Customization. CONSULT.
  • Stock: Yes and upon request (construction time 15 days).

IMPORTANT: THE SHIPPING COST MUST BE ADDED TO THE PRICE OF THE INSTRUMENT. SHIPMENTS OUTSIDE THE COUNTRY OF ORIGIN (ARGENTINA) ARE MADE WITH SERVICES SUCH AS DHL OR SIMILAR.

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Description

Traditional maracas of totumo calabazo special for Cumbia Colombiana

Latin America
Idiophone, Shaken

These totumo maracas are a high quality handcrafted product that represents the culture and tradition of the Caribbean Atlantic coast of Colombia

Handmade maracas made with totumos from the region of San Jacinto, Bolivar, Colombia.
The totumos are a typical fruit of the region, and their designs represent the culture and tradition of the music of the Colombian coast.
The maracas are ideal for playing Cumbia, Merengue, Puya, Gaita, Porro and other fusions with other types of musical instruments. They are made of natural and durable materials. They are made from the shell of the totumo tree, which is dried and perforated. Then, they are filled with seeds or grains, which produce the characteristic sound.

VIDEO OF THE INSTRUMENT


PHOTOS OF THE INSTRUMENT


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Origin and history

It is traditional music from the Atlantic coast of the Colombian Caribbean, dating back to pre-Columbian times.

…As early as 1741, Father Gumilla (1944) referred to the Aruacas as “the inventors of the maraca, which has also been introduced in other nations […], which is a calabazo with a large number of small stones inside, with which they make a fierce and incessant noise” (pp. 150-151). The maracas, born from the totumo or taparo tree, come to life with the seeds of the capacho, and their elaboration as an instrument of the llanero joropo preserves elements of the indigenous tradition. According to Rojas (1990), the construction of llanero maracas is related to the maraca guajibera (Sikuani), whose handle completely crosses the calabazo (p. 112). Also mentioned is the construction of tiples among the indigenous jiraras and betoyes of Arauca, and among the sálivas in Orocué -which the llaneros called the “tiples guajiberos” in the middle of the 20th century-, instruments that may contain the memories of the musical artisan tradition learned in the workshops of the colonial reductions…..

SOURCE


About the luthier

Musician, luthier and workshop owner, native of Neuquén (Argentina), I have made a great journey through more than 6 Latin American countries, for 5 years, living 3 years in Colombia, making a deep study of Latin American folklore, connecting with the roots of the people of our South America. ] Currently residing in the city of La Plata, Buenos Aires (Argentina), where in addition to being a teacher in various public and private institutions, he participates as a musician and is part of the management and production team of various projects.


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