How to dance carnavalito

Demonstration of the Dance El Carnavalito

Arte y mas!

Season 1 Episodes

Veo, Veo. ?Que Veo? game to review sizes, counting activity, and retelling the Ricito de Oros story

S1 E60

Excerpt from Uno, Dos, Tres. ?Dime Quien Es!, another version of the Goldilocks story, and a retelling using simple senten

S1 E59

Colores song and a color and movement activity

S1 E58

New Colors

S1 E57

Elements of plot and counting activity using Ricitos de Oro y los Tres Osos

S1 E56

Reading of Ricitos de Oro y los Tres Osos (Goldilocks and the Three Bears)

S1 E55

Painting of Baile en Tehuantepec by Diego Rivera and video of Mexican children dancing La Raspa

S1 E54

Reading of El Rinoceronte Rojo

S1 E53

Review of primary and secondary colors in a tropical landscape

S1 E52

Two examples of still life and a counting activity with cats

S1 E51

Still life paintings and reading of the poem Las Sand?as

S1 E50

Shapes and colors in Picasso's Ni?a con Barco, ?Que Es? two-dimensional art media, and a counting and sorting activity

S1 E49

Veo, Veo game, reading of Sonrisas by Alma Flor Ada and F.

Isabel Campoy, and examples of paintings by Picasso

S1 E48

Review of primary and secondary colors and a self-portrait by Mexican artist Frida Kahlo

S1 E47

Reading of Azul y Verde ; portraits and poems

S1 E46

Discussion of sizes, a reading of Figuras and games reviewing shapes and colors

S1 E45

Veo, Veo game, reading of Figuras, Muchas Figuras, and action verbs

S1 E44

Rectangles and circles and a mola made from cut paper

S1 E43

Lines and shapes in the Joan Mir? painting Lecci?n de Esqu? (The Ski Lesson)

S1 E42

The Lineas song, drawing different lines with sidewalk chalk

S1 E41

Art activity using pastel chalk and paper to introduce thin and thick lines

S1 E40

Traditional mola designs from Panama illustrate lines

S1 E39

Las Visitas and Mi Cuerpo songs, a counting activity with flutes

S1 E38

Review intensity with the ?C?mo Te Llamas? song, clap slowly and then faster to the El Chocolate chant, and count 12

S1 E37

Counting to 11 Slowly and Quickly

S1 E36

Review fast and slow music, the Manzanita del Per? game, a song about the parts of the body, and a counting activity

S1 E35

Songs performed slowly and quickly and slow/fast movement exercise

S1 E34

An echo game, counting violins, high and low sounds on the cuatro, and the ?Que Viene Despues? game

S1 E33

A musician from Panama plays conga drums; reading of Silencio Ruido

S1 E32

High and Low Sound On Musical Instruments

S1 E31

Manzanita del Per? game, practice loud and soft voices, and assign actions to musical instruments

S1 E30

?Que Viene Despues? Game Reviews Colors

S1 E29

Reviews the color white and body parts with a play-dough activity

S1 E28

High and low vocal sounds and a traditional song about parts of the body

S1 E27

Individual movements from the Sevillanas and Los Botones song

S1 E26

Performance of the Sevillanas, the Manzanita del Per? game, and ?C?mo Te Llamas T?? song

S1 E25

Review body parts with the S? y No game

S1 E24

Demonstration of the Dance El Carnavalito

S1 E23

Venezuelan Musicians Play Andean Music

S1 E22

C?me te llamas t?? song; reading of Grande y Peque?o ; sorting and counting objects

S1 E21

Students from Northern Elementary in Lexington perform La Raspa, a traditional Mexican dance

S1 E20

Review of the parts of the body and the Ni?as y Ni?os song

S1 E19

Diez Iguanas song; review of colors with the ?Cual Falta? game

S1 E18

Hola song; comparing objects of different sizes

S1 E17

Musicians from Venezuela Sing and Dance A Merengue

S1 E16

Color Yellow

S1 E15

Susana Dice

S1 E14

A Surprise Bag from Bolivia

S1 E13

Counting Activity

S1 E12

Saludos Song

S1 E11

Greetings and Locomotor

S1 E10

El Gato

S1 E9

Making Hot Chocolate

S1 E8

Movement Commands and An Action Song

S1 E7

Reading of Rojo

S1 E6

Stepping Forward and Backward

S1 E5

Counting from 1 to 3

S1 E4

Hand Movements and Reading of Rebeca

S1 E3

Las Visitas Song and the Si Y No Game

S1 E2

Tpr (Total Physical Response)

S1 E1


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Dances of Argentina - The Best Traditional Argentinian Dances

Argentina is known all around the world for their innovative, impulsive, intimate and passionate tango dance, but this large and diverse country is also home of the incredible variety of other traditional dances that are fueled by the beats of several kinds of native Argentine music.

The best known of these dances are native (derived from the music, dances, ceremonies and celebration dances that were present in South America at the time of the arrival of European immigrants) and modern folk dances (which were developed over centuries of development of this large nation).

The development of Argentine music has played a large role in the formation of the modern folk dances that are today practiced in all regions of this country. Here are the most notable dances today practiced in Argentina:

Argentina is the country of dance

1. Carnavalito

The Argentine regions of Altiplano and Puna are known for the development of the traditional South American dance that is today practiced in numerous religious festivities. Since its early development, this dance went through changes that had made it into a mix of the Spanish colonial culture and the indigenous cultures of South America who had practiced this dance long before European settlers arrived at the shores of this country. Instruments that most commonly follow this dance are native instruments such as quena, siku, and the bombo. The music is very cheerful, quick, and multiple partners (arranged in groups or rows) follow the beat of the music with smiles. A leader of the row or a dance group (male or female) usually holds a handkerchief or ribbons in one of its hands.

Today, Carnavalito public dances are commonly practiced in the northern regions of Argentina, most notably in regions of Salta and Jujuy), as well as in some western parts of Bolivia.

2. Chacarera

Chacarera is a type of folk music dance that originated in the northern region of Argentina, more precisely from the province of Santiago del Estero. Since its origin, it was always closely connected with the popular tango and is viewed in Argentina as the rural and traditional counterpart to the cosmopolitan and internationally accepted version of the modern tango.

The core component of the Chacarera is the dance routine differences between male and female dance pairs. In this dance, females stay stationary for prolonged periods of time, while male performers circle around them. Music of Chacarera can be played by both traditional and contemporary bands or soloists, with the most common instruments being guitar, violin, bombo drum, and voice.

Chacarera is also famous for the flamboyant clothing style it requires - traditional Argentine flouncy dresses with wide skirts for women, and wide-legged pants, thick belts, and hats for men.

3. Chamamé

Chamamé is a traditional folk dance which originated from the northeast regions of Argentina and Southern parts of Brazil (such as regions of Santa Catarina, Paraná, Mato Grosso do Sul, and the Rio Grande do Sul). The birthplace of the dance can be traced to the Yapeyú Corrientes, which is regarded as one of the centers of the musical culture that birthed Chamamé under the encouragement of Jesuits who promoted cultural growth until the late 18th century. The modern version of this dance received influences from immigrants of several European countries, most notably Germany and Poland. Today’s Chamamé is a mix of native, Spanish, German and Polish influences.

The term Chamamé was first used in the early 1930s, and the earliest recordings of this dance can be traced to early years of 20th century. Chamamé is most commonly danced with music played by Spanish guitar, violin, and accordion.

4. Cuarteto

Cuarteto is a famous folk dance and a musical genre which originated from the Cordoba region in Argentina. The dance was originally created in the 1940s under influences of Spanish and Italian immigrants who brought with themselves various European musical styles that they mixed with the native music of Argentina. The result of this mix is an upbeat and cheerful music that is similar in rhythm to the modern Dominican merengue. The peak of its popularity was in the 1970s and 80s when this musical style was viewed as the Cordoban local alternative to the musical culture of Buenos Aires.

Its name comes from the tendency of this music to be played by quartets - four-piece bands that were most commonly made out of the piano, violin, accordion, and bass.

The most famous Cuarteto artists are Cuarteto Leo band, Carlos Mona Jiménez, Tru-la-lá band, Rodrigo and Walter Olmos.

5. Cueca

Cueca is a folk dance that is practiced in Argentina, but this dance is also famous in Bolivia and Chile (where this dance is also adopted as the country’s national dance). The origin of this dance is not precisely known, but it is presumed it came as the result of the mix of indigenous and European Spanish musical styles, with the largest contributors being the zamacueca dance of Peru and Spanish Fandango dancing. From Peru, this dance moved to Chile, Bolivia, and Argentina where it continued to evolve to its modern state.

Most commonly, Cueca is danced using white, red or black costumes and dresses fashioned in the style of Chilean national clothes. In Argentina, this dance is most commonly danced in the region of Cuyo, which is located near the border with Chile, but it is also practiced in provinces such as Mendoza, Jujuy, Chaco, Salta, La Rioja and Catamarca. However, in Argentine country cueca is danced in several variations, including changes in music style, clothing and the way of dancing.

6. Cumbia villera

Cumbia villera is the subgenre of cumbia music that is famous entire Latin America. It originated in the slums Argentina to be the voice of lower and marginal classes, often centering on the themes of life in rough environments. The music style of Cumbia villera mixes the influences of Colombian and Peruvian cumbia with many other musical genres, such as the gangsta rap, punk rock, tango, reggaeton, Argentine folklore, protest song, narcocorrido and others.

The lyrical themes of cumbia villera are often centered on everyday life in rough environments, slums, poverty, misery, use of drugs, violent clashes, anti-police themes, night lifestyle, football culture , the authenticity of being a lifelong member of the marginalized social class, antipathy toward politicians and more.

7. Gato

Gato is a very interesting variation of the musical style of chacarera, but with the notable different interpretation of its rhythm and dancing routines. This popular folk dance incorporates structure in which lyrics are often very humorous, and the performers have the freedom too often pause the music and dance routine toimprovise some scene, often to create a heightened sense of comedy.

The name of this dance is taken from the Spanish word of “gato” which means “cat”.

8. Murga

Murga is a popular carnival and musical theatre dancing style that is popular in countries such as Argentina, Uruguay, and Spain. The core requirement of this dance is a group that consists of usual up to 17 performers, which are usually men. The dancing and singing routines that dancer group prepare for carnival performance can last up to 45 minutes , and they consist of unique dancing moves, suite of songs (with opening and closing songs being the most important), and prepared recitative speech lyrics. Performances of Murga are usually done on carnival grounds or community stages (also known as tablados in Montevideo in Uruguay).

The Murga group of performers usually consists of chorus members, three percussionists and the performance can have up to five vocal parts. Percussion instruments are usually drums of the bombo, redoblante and platillos varieties. Clothing of Murga dancers is highly elaborate and jester-like.

9. Pukllay

Pukllay (also known as phukllay, pucllay, pugllay, phujllay, pujhllay, pujllay and puqhllay) is traditional folk dance and festival held in the region of central Andes. The name of this dance is derived from the Quechua word that signifies “play", "to play" or "carnival". In traditional times, this dance and celebration festival was organized to signify the end of the raining season and the beginning of the harvesting season , but in the modern times it has become connected to the celebration of the arrival of Christianity, and the celebration of the battle won over Spaniards. One of the centralclothing motives of this folk dance is the Spanish helmets and spurs.

Although this dance is popular in some parts of Argentina, it is practiced much more in Bolivia where its Pukllay festival in Tarabuco has been nominated by UNESCO for World Heritage cultural mark of this region of the world.

10. Zamba

Zamba is a national folk dance of Argentina, promotion core values of many Argentine music and folk dance traditions. Although it has some similarities to Samba, this dance differs from it in several musical, rhythmic and temperamental ways. Dancers of Zamba must master different kind of steps, dance routines and costume wearing, making it similar in some ways to cueca.

Men and female pairs who dance Zamba are required tocircle one around another while using elegant moves to wave white handkerchiefs. The music of Zamba can be of many genres, which is the reason why this dance has become so popular in all regions of the large Argentinian country. Many regional versions of Zamba are promoting the local musical and fashion styles, often promoting the beauty of both the region and the women in it. There is even variation of Zambas that are intended to be danced to provide the statement of a political protest.

Zamba is today dancers regularly across Argentina at social gatherings, folklore parties, festivals and national holidays.

Translations of tango verses: Carnavalito Quebradeño

Carnavalito is a dance performed in Andean Argentina during the Maslenitsa carnival, and a folk musical genre of the northern Argentinean province of Jujuy, famous for its Indian traditions (Jujuy is what it is usually called in Russian-language literature, but Jujuy could be phonetically more correct. .. these regions, according to Humboldt, got their name from the bird kakuy, as the giant nightjar is called in the language of the Quechua Indians). The most famous carnivalitos are Quebradeño, that is, from the Quebrada (gorge) of Humahuaco.

The tango version of Carnavalito Quebradenho is both a milonga and a kind of fusion with Andean Indian melodies and Afro-Uruguayan candombe and murga rhythms. The swallowing of some syllables by the performer probably imitates a Juju accent, and the influence of the Uruguayan murga is felt in the intonations of the choir. The author of the English translation has heard that because of this "excessive folklore" this milonga is not put in the BA. Their loss, then.

A little more from the history of the song. A closely related (and more popular) carnavalito song is called " Carnavalito Humahuaqueño " (along the same gorge of Quebrada de Humahuaca in the mountains of northern Argentina). It is alleged that the guitarist Edmundo Saldivar wrote it back in 1941, although there were no performances before 1943, Saldivar himself did not leave the capital until 1943 and did not trade in Indian folk songs, and registration in SADAIC is dated 1953rd year. But " Carnavalito Quebradeño " (words and music by the brothers Macingo and Adolfo Abalos, arranged by Omero Mansi and Lucio Demare) was registered in SADAIC in 1943, and was recorded by the five Abalos brothers back in 1942 for the super-hit of the Argentinean cinema "War Gaucho" . The film became one of the most popular in the history of Argentine cinema, and politically and ideologically very busy - it is like a forerunner of the revolution of 1943 and the transfer of power into the hands of the proto-Peronists, a kind of nationalist battle cry. The scriptwriter of the film was the tango poet and nationalist Homero Mansi, himself a native of Santiago de Estero, like the Abalos brothers (who put their lives, one might say, to equate northern folklore in significance with metropolitan tango ... we owe it to them and "Chacareroy del Rancho"). The director was Lucas Demare (younger brother of Lucio) and the composer was Lucio Demare. Filmed in the northern mountains, in Salta, at the beginning of the 42nd year. So it appears that Abalos and Mansi were the first to reveal this topic, and then Desmarais with Beron and Saldivar took advantage of the popularity of the film and the nationalist frenzy 1943 years... but the anti-Tang motivation of the Abalos, the collapse of Argentina's continental superpower ambitions in 1944-45, and then the collapse of Peronism, did not give this topic a long-term chance in the BsAs milonga.

Multicolored cliffs in Quebrade de Humahuaco
Carnivalito in Humahuaca, Jujuy
Carnavalito Quebradeño
Letras y música:
Machinga y Adolfo Abalos
Homero Manzi y Lucio Demare

Quebradeño a mí dicen
porque nací en La Quebrada.
Carnavalito de mi querer,
toda la rueda venga a bailar.
Porque soy como mis cerros,
curtido por la quebrada,
carnavalito de mi querer,
toda la rueda venga bailar.

porque soy desdicha'o vivo llorando, llorando
Pum pum carnavalito
(venga la gente a bailar, carnavalito).

En el manantial se apaga la sed,
la sed de vivir, la sed de viajar
En el carnaval que hay miel de calmar
la sed de un amor que me hace llorar
porque soy desdicha'o vivo llorando, llorando
Pum pum carnavalito
(venga la gente a bailar, carnavalito)

Palomita sin palomar,
un viento malo te quebró,
carnavalito que hay de curar
con yuyo bueno del corazón
(carnavalito de mi querer,
toda la rueda venga a bailar)

pum carnavalito
(venga la gente a bailar, carnavalito)


Translated by N. Orlova


Quebradeño is my name,
because I was born in Quebrade.
Oh, you are my favorite carnival,
the whole neighborhood is going to dance.
I, just like my mountains,
burned down black by the stream.
Oh, you are my favorite carnival,
the whole district is going to dance.

I live unhappily and weep bitterly.
Boom! Boom! Carnivalito!
Come on, let's go dancing - carnivalito!

The mountain river will cool down all the agility
to wander and live, and will flood your thirst.
Where there is a carnival, there is mash and honey -
he will surely take away the longing for love.

I live miserably and weep bitterly.
Boom! Boom! Carnivalito!
Come on, let's go dancing - carnivalito!

The dove was left without a roof,
the evil wind broke you;
how good it is to have a carnival,
heal the heart with good herbs.
Oh, you are my favorite carnival,
the whole neighborhood is going to dance.
Boom! Boom! Carnivalito!
Come on, let's go dancing - carnivalito!


Argentina in Russia 2017: festival program




st. Krymsky Val, 2

Date and time of the festival / event


August 19 and 20 in Moscow, on the territory of the Muzeon park on Krymsky Val, the festival "Argentina in Russia 2017" will be held.

Please note! You will need to register to participate in many events. Due to the limited number of tools, materials, or just the logic of the lesson, the master needs to know how many people will come.

August 19 from 11:00 to 23:00, on a wooden platform to the left of the Central House of Artists (Scene 1)

  • 12:00 - ANTON OBRAZTSOV - Percussion master class (chakarera) - Energetic, cheerful and sad, playful and philosophical, loving and militant. Chakarera is different, but it is invariably energetic, ignites with its rhythm.

  • 13:00 - EVGENIY AND EKATERINA - Dancing master class (chacarera) - The most frequently performed Argentinean folklore dance! We will get acquainted with the chacarera dance, feel the rhythm and character of the dance, study the pattern of movements.

  • 14:00 - LENA HERNANDEZ FLAMENCO STUDIO - Performance. Tango Flamenco Folklore

  • 14:30 - "TODOS JUNTOS" - Dance performance "Candombeando Libre" - A production that was born in Russia, traveled to Argentina, saw mountains, rivers and festivals and returned back, carrying the energy of the sun and dance.

  • 15:00 - ANTON OBRAZTSOV - Master class in percussion (candombe) - Rhythm that came to us from Africa and formed the basis of several well-known music and dance genres at once. For example, tango and milongas. We will learn how to tap it and see how we "recharge" the dancers with rhythm.

  • 16:00 - KONSTANTIN AND ELENA - Master class in dancing (tango) - Tango is a dance-dialogue between a man and a woman. Quiet and sincere conversation or quarrel, or care, or courtship. At the same time, we will not say a word out loud, but we will definitely understand each other.

  • 17:00 - DARIA AND MARINA - Dancing master class (carnavalito) - Rhythm and dance, popular in many countries of Latin America. This is a cheerful, universal dance, a symbol of carnival - the main holiday of the year.

  • 18:00 - LENA HERNANDEZ FLAMENCO STUDIO - Performance. Tango Flamenco Folklore

  • 18:30 - "THODOS JUNTOS" - Dance story. Dont krai fom mi Argentina - A story about encounters with magical places and people, music and dance, the traditions of such amazingly different and creative provinces of Argentina.

  • 19:00 - "TODOS JUNTOS" - A story about a trip to Argentina

  • 20:00 - "THODOS JUNTOS" - Noches magicas open milonga with live music - Dance evening. Open to everyone! This is the time when everyone dances with each other for their own pleasure, enjoying a wonderful evening and live music.

August 19 from 11:00 to 23:00, on a wooden platform to the left of the Central House of Artists (Scene 2)