The
traditional music of the jíbaro, or Puerto Rican subsistence farmer, evolved
from the music of the soldiers, farmers, artisans and enslaved Africans that settled on
the island at the dawn of the seventeenth century. These ancient colonists hailed from the
southern region of Spain, the provinces of Andalucía and Extremadura; from the Canary
Islands; and from West Africa.
From Spain they brought the traditional romances, song genres such as
the Seguidillas and the Copla, and other traditional songs of ancient
moorish descent. The Canary Islanders brought their diminutive timples and the Africans
brought their memories of syncopated rythyms, their stringed instruments made from gourds
and their drums. Many eventually became established in the mountainous
interior of the Island, and in those isolated hills their music developed
unique characteristics.
These became the first Puerto Ricans. From those same
hills emerged our first cantaores, singers that remembered the
traditional chants and sang them during festive occasions. Also those hills
produced the first trovadores--poets who sang their poems. Their
poetry was structured along the lines of the ancient Spanish décima:
each line consisting of seven, eight or nine syllables--depending on
complex rules.
The music playing behind the singers was usually the seis.
And each seis according to its region. Scores of different seises
have been created all along the Island countryside. Among them the slowest,
the seis mapeyé, the seis andino and the seis celinés
; and among the fastest, the seis chorreao and el seis zapateao.
The music was produced by an ensemble consisting of a cuatro, a scratch
gourd called a guiro, and a guitar or another native instrument such
as a diminutive tiple or a large bordonúa,
instruments that have all but disappeared from the scene. This ensemble was
know as an orquesta jíbara, or jíbaro orchestra.
And this has been the basis of the Puerto Rican traditional instrumental
folklore. |

Ilustration courtesy Ansonia
Records |