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Candombe oriental

Candombe oriental is a Milonga written by Pintín Castellanos and recorded by Juan D’Arienzo in 1941. The Milonga Candombe oriental is written by Pintín Castellanos, Juan D’Arienzo has recorded Candombe oriental with the singer Alberto Reynal.
“Candombe Oriental,” or “Eastern Candombe,” evokes rhythmic echoes of roots stretching to the vibrant shores of Uruguay. This name conjures a tapestry where African beats intertwine with native melodies, offering a tribute to cultural fusion. Through its soulful cadence, it invites listeners to journey into a spirited dance of heritage and harmony.

Milonga

Style

Juan D'Arienzo

Orchestra

Alberto Reynal

Singer

Pintín Castellanos

Author

Pintín Castellanos

Composer

1941/4/28

Date

Alberto Reynal
Alberto Reynal
Juan D'Arienzo
Juan D’Arienzo

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Recommended

These Tangos, Valses, and Milongas were recorded around the same time. Take a look to discover what else this orchestra—or others—may have recorded during the same week or even on the exact same day.

1941/4/28 – Ya lo ves – Juan D-Arienzo
1941/5/6 – La serenata (Mi amor) – Ricardo Tanturi
1941/5/6 – Una noche de garufa – Ricardo Tanturi
1941/4/18 – El estagiario – Carlos di Sarli
1941/4/18 – Mi refugio – Carlos di Sarli

Lyrics Translation of the Milonga Candombe oriental

This is the translation of the Milonga “Candombe oriental” from Spanish to English. The English lyrics of the Milonga “Candombe oriental” have been done with AI.

Letra del Milonga Candombe oriental

El día de los candombes
el domingo había de ser,
se bailaba en el “recinto”
mi ciudad bella de ayer.
La fiesta se prolongaba
hasta la puesta del sol,
bailando todos los negros
del tamboril a su son.

Calunga… Caluncangué…
Decían en su cantar,
sensuales sus movimientos
enervantes sin igual.
Calunga… Caluncangué…
Y siga el son del tán-tán,
la negrada enloquecía
con el candombe oriental.

Los amos y las amitas
presenciaban la reunión,
la fiesta de sus esclavos
de notable animación.
Morenos y morenitas
en su sensual viborear,
mostraban sus blancos dientes
como las perlas del mar.

English lyrics of the Milonga "Candombe oriental"

The day of the candombes
on Sundays it had to be,
they danced in the “enclosure”
my beautiful city of yesteryear.
The festivity would stretch
until the sun would set,
all the blacks were dancing
to the beat of the drum.

Calunga… Caluncangué…
They said in their singing,
sensual their movements
unparalleled, nerve-tingling.
Calunga… Caluncangué…
And let the beat go on,
the blacks went crazy
with the oriental candombe.

The masters and mistresses
witnessed the gathering,
the feast of their slaves
of remarkable zest.
Brown men and women
in their sensual swaying,
showing their white teeth
like the pearls of the sea.

Candombe oriental by

Candombe oriental is a Tango written by and composed by Pintín Castellanos.

Story behind the Tango Candombe oriental

“Candombe oriental” captures the vibrant atmosphere of a traditional Afro-Uruguayan festival, where communities would gather to celebrate through dance and music. The lyrics evoke a nostalgic reflection of these cultural gatherings, emphasizing the exuberance and unity experienced in these moments of communal joy.

Symbolism of Candombe oriental

The tango’s lyrics are steeped in rich symbolism that connects deeply with the cultural heritage of the Afro-Uruguayan people. The repetition of phrases like “Calunga… Caluncangué…” reflects the rhythmic heartbeat of the candombe drum, which is central to the celebration. This repetition symbolizes the pulsating energy that drives the dance and unites the dancers. Terms such as “la negrada” evoke a sense of collective identity and pride among the Afro-Uruguayan community, transforming what might be perceived as a derogatory term into a badge of cultural resilience and strength. The imagery of “blancos dientes como las perlas del mar” crafts a striking visual of beauty and pride, highlighting the vibrancy and elegance of the dancers.

Candombe oriental in historic Context

Created in 1941 in Buenos Aires, Argentina, “Candombe oriental” is entrenched in the historical context of the Afro-Uruguayan candombe tradition. The 1940s were a time when candombe, a musical form brought over by African slaves, was revitalized and celebrated as an essential cultural expression. Despite originating in Uruguay, the cultural influences permeated neighboring Argentina, especially in cities like Buenos Aires, where Afro-descendant communities kept traditions alive. The tone of the lyrics exude nostalgia for a past era when these traditions were uninterrupted by social and political barriers, showcasing a longing for cultural preservation in a time of changing dynamics due to modern influences.

Pintín Castellanos was a prominent composer of tangos and a key figure in the Latin American music scene. His works are celebrated for their ability to capture and convey the cultural nuances of his environment.