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Automorphism
Revolutionaries
Monochromatic
Unquestionable
Supersaturation
Geomorphology
©1986
Hüḡô Fàttøřúšö & Rèý Tåmbőŕ.¶
Alberto Wolf
Alfredo Zitarrosa
Ana Prada
Chabela Ramírez
Chichito Cabral
Claudio Taddei
Daniel Maza
Daniel Viglietti
Darnauchans
Diane Denoir
Diego Paredes
Eduardo Da Luz
Eduardo Mateo
Emiliano y el Zurdo
Estela Magnone
Fernando Cabrera
Gustavo Montemurro
Gustavo Pena
Herman Klan
Hugo Fattoruso
Jaime Roos
Jorge Drexler
Jorginho Gularte
José Carbajal
Larbanois & Carrero
Leo Maslíah
Leonardo Amuedo
Litto Nebbia
Lucas Lessa
Malena Muyala
Mariana Ingold
Martín Buscaglia
Martín Ibarburu
Nicolás Ibarburu
Romeo Gavioli
Ruben Rada
Samantha Navarro
Tabaré Cardozo
Urbano Moraes
ORIGIN AND CREATORS OF A SOUND WITH IDENTITY
Combining history, chronicle, memory and analysis, Nelson Caula offers us a very personal view, based on a deep reflection based on the systematization and research of his own archive, gathered in more than four decades and unpublished until now. From the origins, a practically unknown protocandome beat by the Afro-Uruguayan Pedro Ferreira and the avant-garde Candombes promoted by the Georges Roos, to the appearance of El Kinto, the first emblematic group that premiered the genre, passing through its entire route with a strong presence in the country until the seventies, whose solid local expression is concentrated in the Totem group, and its strong projection from then on, with its main references emigrating to Argentina, Europe and the United States, where another emblem of the current flourishes, already very open to jazz-rock and funk: the group Opa.
During their sporadic intervals of liberty, they endeavored to revive age-old rituals, which invariably featured music and dance reminiscent of their homelands. It is worth noting that the earliest verifiable usage of the term “candombe” dates back to the year 1830, an occurrence documented within the confines of a poem published in the Bozal language by a contemporary periodical. As Uruguay embarked upon its journey towards independence, the prevailing societal structure endorsed the congregations of Afro-descendant communities in alignment with their respective nations of origin. This nascent form of organization coalesced under the rubric of the “Nation Rooms,” communal associations primarily dedicated to the mutual assistance of their members. Crucially, these locales served as sanctuaries for the preservation of religious rituals and the continued practice of songs and dances closely linked to these spiritual observances. On January 6, the elaborate festivity known as the “Coronation of the Congo Kings” came to fruition within the precincts of these Nation Rooms. A distinctive aspect of this festivity involved the coronation of those with the most extensive experience, and it commenced with a morning procession characterized by individuals parading while playing resonant drums. This vibrant procession ostensibly represents the nascent manifestation of the ubiquitous drum-led street marches that have indelibly characterized the candombe tradition. The festivity unfolded throughout the course of the day, magnetizing individuals from the entirety of Montevideo's society. Nonetheless, by the latter portion of the 19th century, these elaborate celebrations witnessed a gradual diminishment in their scale and vibrancy. A confluence of factors precipitated this decline, most notably the passing of the first generation of descendants with a direct link to their African heritage, a connection that maintained the integrity of ancestral customs and rituals. Simultaneously, the gradual societal devaluation of black culture precipitated the assimilation of descendants born within Uruguay into the mainstream fabric of society, thereby distancing them from the prevailing African traditions. As the generations bearing direct witness to the era of slavery gradually receded into history, the erstwhile “Nation Rooms” metamorphosed into novel forms of communal organization. These included the advent of “Black Societies,” “Philharmonic Societies,” and carnival associations subsequently recognized as “Comparsas” or “Black and Lubolos Societies.” Presently, the practice of candombe transcends the confines of traditional festivities, burgeoning onto the streets during weekends and public holidays. It serves as a communal haven wherein individuals convene to engage in the collective art of drumming, dancing, or simply relishing the symphonic performances that accompany the grand procession.
Glyphs
Rhythmically wild, aggressive, of resistance, Mazumbá unfolds as a symphony of form, inspired by the beats of Candombe drums, an Afro-Uruguayan rhythm enshrined as humanity's intangible heritage. A variable weight typeface with dramatic extremes and subtle midpoints, full of personality.
This font, in perpetual motion, echoes the spirited African dance that accompanies the vibrant music. It's a project infused with profound meaning, rooted in history, culture, and tradition.
Mazumbá’s versatility at its extremes enables you to craft eye-catching, dynamic headlines that captivate the eye. Meanwhile, its intermediates are finely tuned for immersive reading, upholding classic proportions with robust terminals, focusing on legibility. The lighter style (stencil) embodies the "chico" drum, characterized by its sharp, precise notes that cut through the air. In contrast, the heaviest (black) resonates with the depths of the "piano" drum, offering a sound so rich and deep that it completely envelops. In the middle (regular), the drum "repique" creates a harmonious dialogue between them.
This is how Mazumbá takes shape, a typeface that dances freely, losing its endings, expanding and tensing its form just like the music. Bound to the tempo, it captures the essence with a fusion of restless energy and serene vibes.
Currently developing italics for all of the 6 styles that Mazumbá has.
Expand Characters and Diacritics to all Latin Plus languages supported.
Working on expansion of:
▹Number Sets
(tabular, denominators, sub and superscript, numerators)
▹Alternates
(stylistic, swashes, contextual)
▹Ligatures (historical)
▹Small caps
Add set of representative symbols
(drums, instruments, musical notes, cultural elements)
Musical Notation : )
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Version №
Classification:
Styles
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