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Moro coro

Moro coro

(Code: A110603054)

This traditional song comes from Yoruba, Cuba. It was in honor of the hunting deitie “Ochosi.” This song was arranged by Marion Deruelles and Raphaëlle Frey-Maibach.
They gave us some information about the background:
“El Goyo inspired us. He was an emblematic character of African-Cuban, a member of Conjungo Folklorico Nacional de Cuba, an indispensable rumba figure. This song is sometimes accompanied on the Batá drum. Rhythms suggested can be performed with percussion or body percussion. Lyrics and melodies have passed on from generation to generation since the horrible time of slavery. The literal translation was probably lost over time and suffered some pronunciation distortion. Moreover, language is deliberately full of imagery, as it is often the case in rituals, and only insiders can understand the true meaning.
Batá drums are a group of three hourglass-shaped drums put on the performer’s knees and barehanded played.
The skin on the small side is called “Cha cha” (in Yoruba) or “Culata” (in Spanish). This is the clacking side. The skin on the big side is called in “Enu” (in Yoruba) or “Boca” (in Spanish) and is considered like a mouth.
The biggest drum is called “lya,” it is placed between the middle called “itotele” and the small called “okonkolo.” They are always put together.
They create a three-part language which tonal Yoruba language inspired.
The rhythm of “Moro Coro” song is also used for other songs like “Baba Fururu.” It is named after this song.”

(Translated from French)

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6g
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This traditional song comes from Yoruba, Cuba. It was in honor of the hunting deitie “Ochosi.” This song was arranged by Marion Deruelles and Raphaëlle Frey-Maibach.
They gave us some information about the background:
“El Goyo inspired us. He was an emblematic character of African-Cuban, a member of Conjungo Folklorico Nacional de Cuba, an indispensable rumba figure. This song is sometimes accompanied on the Batá drum. Rhythms suggested can be performed with percussion or body percussion. Lyrics and melodies have passed on from generation to generation since the horrible time of slavery. The literal translation was probably lost over time and suffered some pronunciation distortion. Moreover, language is deliberately full of imagery, as it is often the case in rituals, and only insiders can understand the true meaning.
Batá drums are a group of three hourglass-shaped drums put on the performer’s knees and barehanded played.
The skin on the small side is called “Cha cha” (in Yoruba) or “Culata” (in Spanish). This is the clacking side. The skin on the big side is called in “Enu” (in Yoruba) or “Boca” (in Spanish) and is considered like a mouth.
The biggest drum is called “lya,” it is placed between the middle called “itotele” and the small called “okonkolo.” They are always put together.
They create a three-part language which tonal Yoruba language inspired.
The rhythm of “Moro Coro” song is also used for other songs like “Baba Fururu.” It is named after this song.”

(Translated from French)