Luis Angel
Composers such as Luis Enrique Martinez and Luis Angel Pastor were successful in recording and distributing vallenato merengue while concurrently pushing cultural pride. Luis Enrique Martinez also known as the 1973 king of vallenato, composed many vallenato songs including some in the merengue style. He recorded and released a song titled La Botelita which featured many other well-known artist (Smithsonian Folkway, 13) This song was recorded for entertainment purposes and even though it did not reach international recognition, it was played locally in different regions of Colombia to those whom this style appeals to. Luis Angel “el papa” pastor is another well-recognized and respected Colombian musician who has worked alongside internationally
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He first began as an actor on many telenovelas then later shifted his focus onto performing vallenato music. He began performing a modern version of vallenato paseo called pop vallenata or modern vallenato in which he incorporates traditional vallenato paseo instruments such as the accordion bass and percussion and even adds gaitas to the formula. Gaitas are wind instruments that can either be macho (one or two holes) or hembra (5 holes). (Smithsonian Institution, 2010) In 1993 he released his album, Clasicos de la Provincia which was the first Colombian record that sold more than a million copies and won the Billboard Latin Music Award in 1995. This album sparked the international recognition of vallenato music. Carlos Vives role in internationalizing vallenato music nevertheless also help spread cultural pride. As mentioned in the Smithsonian article, “Paseos often have a costumbrista flavor, evoking local lifeways, people, or history” (Smithsonian folkway, 4). In other words it tells the stories of people’s lifestyle and history which can show how cultural pride which can be transmitted through vallenato music. Carlos Vives has achieved the art of spreading cultural pride through his music, for example he mentions how “We modern vallenato musicians are Elvises of the Magdalena River. We are trying to make modern music based on folklore, utilizing vallenato values, which are joy, stories, soul, and sincerity. We’re making new music, but based on that root.” (Smithsonian Folkway, 7). In this quote he is demonstrating how even though he is moving into a more modernized vallenato paseo, his music still relies on the structure and values of vallenato paseo. This demonstrates the spread of cultural pride because he is preserving the essence of vallenato while appealing to audiences from all over the world through his pop vallenato
He first began as an actor on many telenovelas then later shifted his focus onto performing vallenato music. He began performing a modern version of vallenato paseo called pop vallenata or modern vallenato in which he incorporates traditional vallenato paseo instruments such as the accordion bass and percussion and even adds gaitas to the formula. Gaitas are wind instruments that can either be macho (one or two holes) or hembra (5 holes). (Smithsonian Institution, 2010) In 1993 he released his album, Clasicos de la Provincia which was the first Colombian record that sold more than a million copies and won the Billboard Latin Music Award in 1995. This album sparked the international recognition of vallenato music. Carlos Vives role in internationalizing vallenato music nevertheless also help spread cultural pride. As mentioned in the Smithsonian article, “Paseos often have a costumbrista flavor, evoking local lifeways, people, or history” (Smithsonian folkway, 4). In other words it tells the stories of people’s lifestyle and history which can show how cultural pride which can be transmitted through vallenato music. Carlos Vives has achieved the art of spreading cultural pride through his music, for example he mentions how “We modern vallenato musicians are Elvises of the Magdalena River. We are trying to make modern music based on folklore, utilizing vallenato values, which are joy, stories, soul, and sincerity. We’re making new music, but based on that root.” (Smithsonian Folkway, 7). In this quote he is demonstrating how even though he is moving into a more modernized vallenato paseo, his music still relies on the structure and values of vallenato paseo. This demonstrates the spread of cultural pride because he is preserving the essence of vallenato while appealing to audiences from all over the world through his pop vallenato