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The Ancestral Call
Exploring the path of a Costa Rican ancient culture
By Jose Arturo Soto
Objective
q
Supporting the rescue of the Bribri culture in
Costa Rica through music inspired by my
research of its spiritual, and philosophical life
perspective.
Bribris and "Ttök.
•
First Costa Ricans.
•
One of the most prominent
indigenous communities in
the country.
•
Majority of Bribris live in
Talamanca, in the south of
Costa Rica.
•
No word represents the
concept of "music" or "sing.”
• Ttök.= talking in the ritual
language.
• Ttök can be understood in our
society is the act of singing.
• Only the most knowledgeable
Bribris are the ones who know
the ritual language.
The Ancestral Call Music
•
Five compositions inspired on the Bribri’s perception of themselves.
•
A Bribri person contains four spiritual beings.
•
"Se’ wöbla wíköl” (Being of the Eye),
•
“Se’ wíköl" (Being of the Aura).
•
“Yàblo” (Being of the Liver).
•
“Schégla” (Being of the Bone).
•
One piece is dedicated to the Bribri figure of the “Awá” (indigenous
doctor).
“Se’ wíköl yulök”
(Looking for my other being).
•
•
Composition based on the Bribri
poem: “Isela ka wena ta ise iriria i'
•
ki se' du'rki” (Dawned, on this
earth we are)
•
Choral for voice, strings, and
percussion
Jose Soto --- Composition and keyboard
Jireh Calo --- Voice
Brian Urra --- Violin
Emilie Catlett --- Viola
Naseem Alatrash --- Cello
•
CREDITS
Voice - "Ttök”
Strings and percussion depicts
underworld.
The solo represent my soul
searching
Tareq Rantisi --- Percussion
Jacob Jezioro --- Acoustic Bass
Daniel Babai Recording Engineer
George Kramarski Editing and Mixing
“Suwo” (Air)
•
•
“Suwo” as the air and •
the hero in the piano
arpeggio
Sax long notes =
uncertain destiny of
the Bribris
•
Solo section = final
battle between Suwo
and Yàbulu.
The Bass broken
pattern represents
“Yàbulu” (foreign
spiritual being)
Jose Soto --- Composition and Piano
Alex Jhonson --- Soprano Sax
Grzegorz Wlodarczyk --- Acoustic Bass
•
9/4 rumba clave
conveys the possible
connection of our
modern society with
the Bribris.
CREDITS
Tomer Sadot --- Drums
Daniel Babai --- Recording Engineer
George Kramarski --- Editing and Mixing
“Awá”
•
“Awá” spiritual guide, indigenous doctor, and Bribri advisor.
•
Melody composed based on the
Bribri poem “A Sula'la” and “Prayer”
by Danilo Pérez.
•
Ney represents the “Awá”.
•
Bass solo = underworld.
Jose Soto --- Composition and Piano
Maria Amalia Quesada --- Voice
Faris Ishaq --- Ney
Jacob Jezioro --- Acoustic Bass
CREDITS
Jodie Michael --- Drums
Daniel Babai --- Recording Engineer
George Kramarski --- Editing and Mixing
“I wö klöũk”
(The Bearer)
•
Different motif from the poem of the
first song.
• Chaos created by the cello and the ney
during the solo.
•
Composition of a two-voice invention.
• A more lyrical melody on the B section.
•
Close voicing harmony.
•
Bass support the left.
•
Underworld represented by the cello and
ney.
•
CREDITSthrough changing
Creating movement
Jose Soto --- Composition and Piano Jodie Michael --- Drums
the instrument’s roles.
Faris Ishaq --- Ney
Jacob Jezioro --- Acoustic Bass
Naseem Alatrash --- Cello
Daniel Babai --- Recording Engineer
George Kramarski --- Editing and Mixing
• The drums = spontaneous circumstances
that life brings to us.
• Soprano Sax = The Bearer.
Se’sulé schákè
(Ancestral Call)
•
I improvised a sung melody that became the main idea for the
composition of this last choral.
•
First instrumentation as in the first piece in order replicate the
spiritual feel of that piece.
•
Yàblo (Being of the Liver).” Spiritual being that represents
honesty
•
I like toJosething
about this songCREDITS
as a pray.
Soto --- Composition
Tareq Rantisi --- Percussion
Jireh Calo --- Voice
Brian Urra --- Violin
Emilie Catlett --- Viola
Naseem Alatrash --- Cello
Jacob Jezioro --- Acoustic Bass
Daniel Babai Recording Engineer
George Kramarski Editing and Mixing
Future Plans and Conclusion
•
Release an album to donate the sales of it to
organizations that support the preservation of the
Bribri society.
•
Apply to grants in order to tour with this music.
•
Research more on this topic and compose more music
based on it.
•
Create an outreach program to bring this music to the
Bribris.
•
Support the rescue of the indigenous culture in Costa
Rica.
THANKS TO
Danilo Pérez – Artistic Director of BGJI and Marco Pignataro – Executive Director of BGJI
CE advisors: Marco Pignataro, Ali García Segura
To all the amazing musicians who recorded in this project
Engineer Daniel Babai
Mixing George Kramarski
Producer Jacob Means
To my teachers Danilo, Joe, Terri, Alan, John, Adam, Ben, Alain, Jerry, Bruno, Allan, George, Luciana, Dave, Ayn
CE panelists and comitee menber Fernando Michellin
Berklee College of Music and my brothers and sisters of the BGJI Master Class 2019
Chloe and Farayi
And to my amazing wife and family.
CITED WORKS
• Ali Segura-Carlos Avendaño-Jara Victoria , Universidad de Costa Rica , 2003
• Música Y Lenguaje Ritual En El Arte Verbal Bribri Unidad de Apoyo Audiovisual a
la Antropología, https://www.youtube.com/watch?v=kTdaUMHpWb0
• Perez, Danilo. “Prayer.” Rec. 2000. Motherland. Verve Music Group, 2000.
• Poesía Bribri de lo Cotidiano: 37 cantos de afecto, devoción, trabajo y
entretenimiento. Adolfo Umaña, Universidad de Costa Rica, 2006.
Exploring the path of a Costa Rican ancient culture
By Jose Arturo Soto
Objective
q
Supporting the rescue of the Bribri culture in
Costa Rica through music inspired by my
research of its spiritual, and philosophical life
perspective.
Bribris and "Ttök.
•
First Costa Ricans.
•
One of the most prominent
indigenous communities in
the country.
•
Majority of Bribris live in
Talamanca, in the south of
Costa Rica.
•
No word represents the
concept of "music" or "sing.”
• Ttök.= talking in the ritual
language.
• Ttök can be understood in our
society is the act of singing.
• Only the most knowledgeable
Bribris are the ones who know
the ritual language.
The Ancestral Call Music
•
Five compositions inspired on the Bribri’s perception of themselves.
•
A Bribri person contains four spiritual beings.
•
"Se’ wöbla wíköl” (Being of the Eye),
•
“Se’ wíköl" (Being of the Aura).
•
“Yàblo” (Being of the Liver).
•
“Schégla” (Being of the Bone).
•
One piece is dedicated to the Bribri figure of the “Awá” (indigenous
doctor).
“Se’ wíköl yulök”
(Looking for my other being).
•
•
Composition based on the Bribri
poem: “Isela ka wena ta ise iriria i'
•
ki se' du'rki” (Dawned, on this
earth we are)
•
Choral for voice, strings, and
percussion
Jose Soto --- Composition and keyboard
Jireh Calo --- Voice
Brian Urra --- Violin
Emilie Catlett --- Viola
Naseem Alatrash --- Cello
•
CREDITS
Voice - "Ttök”
Strings and percussion depicts
underworld.
The solo represent my soul
searching
Tareq Rantisi --- Percussion
Jacob Jezioro --- Acoustic Bass
Daniel Babai Recording Engineer
George Kramarski Editing and Mixing
“Suwo” (Air)
•
•
“Suwo” as the air and •
the hero in the piano
arpeggio
Sax long notes =
uncertain destiny of
the Bribris
•
Solo section = final
battle between Suwo
and Yàbulu.
The Bass broken
pattern represents
“Yàbulu” (foreign
spiritual being)
Jose Soto --- Composition and Piano
Alex Jhonson --- Soprano Sax
Grzegorz Wlodarczyk --- Acoustic Bass
•
9/4 rumba clave
conveys the possible
connection of our
modern society with
the Bribris.
CREDITS
Tomer Sadot --- Drums
Daniel Babai --- Recording Engineer
George Kramarski --- Editing and Mixing
“Awá”
•
“Awá” spiritual guide, indigenous doctor, and Bribri advisor.
•
Melody composed based on the
Bribri poem “A Sula'la” and “Prayer”
by Danilo Pérez.
•
Ney represents the “Awá”.
•
Bass solo = underworld.
Jose Soto --- Composition and Piano
Maria Amalia Quesada --- Voice
Faris Ishaq --- Ney
Jacob Jezioro --- Acoustic Bass
CREDITS
Jodie Michael --- Drums
Daniel Babai --- Recording Engineer
George Kramarski --- Editing and Mixing
“I wö klöũk”
(The Bearer)
•
Different motif from the poem of the
first song.
• Chaos created by the cello and the ney
during the solo.
•
Composition of a two-voice invention.
• A more lyrical melody on the B section.
•
Close voicing harmony.
•
Bass support the left.
•
Underworld represented by the cello and
ney.
•
CREDITSthrough changing
Creating movement
Jose Soto --- Composition and Piano Jodie Michael --- Drums
the instrument’s roles.
Faris Ishaq --- Ney
Jacob Jezioro --- Acoustic Bass
Naseem Alatrash --- Cello
Daniel Babai --- Recording Engineer
George Kramarski --- Editing and Mixing
• The drums = spontaneous circumstances
that life brings to us.
• Soprano Sax = The Bearer.
Se’sulé schákè
(Ancestral Call)
•
I improvised a sung melody that became the main idea for the
composition of this last choral.
•
First instrumentation as in the first piece in order replicate the
spiritual feel of that piece.
•
Yàblo (Being of the Liver).” Spiritual being that represents
honesty
•
I like toJosething
about this songCREDITS
as a pray.
Soto --- Composition
Tareq Rantisi --- Percussion
Jireh Calo --- Voice
Brian Urra --- Violin
Emilie Catlett --- Viola
Naseem Alatrash --- Cello
Jacob Jezioro --- Acoustic Bass
Daniel Babai Recording Engineer
George Kramarski Editing and Mixing
Future Plans and Conclusion
•
Release an album to donate the sales of it to
organizations that support the preservation of the
Bribri society.
•
Apply to grants in order to tour with this music.
•
Research more on this topic and compose more music
based on it.
•
Create an outreach program to bring this music to the
Bribris.
•
Support the rescue of the indigenous culture in Costa
Rica.
THANKS TO
Danilo Pérez – Artistic Director of BGJI and Marco Pignataro – Executive Director of BGJI
CE advisors: Marco Pignataro, Ali García Segura
To all the amazing musicians who recorded in this project
Engineer Daniel Babai
Mixing George Kramarski
Producer Jacob Means
To my teachers Danilo, Joe, Terri, Alan, John, Adam, Ben, Alain, Jerry, Bruno, Allan, George, Luciana, Dave, Ayn
CE panelists and comitee menber Fernando Michellin
Berklee College of Music and my brothers and sisters of the BGJI Master Class 2019
Chloe and Farayi
And to my amazing wife and family.
CITED WORKS
• Ali Segura-Carlos Avendaño-Jara Victoria , Universidad de Costa Rica , 2003
• Música Y Lenguaje Ritual En El Arte Verbal Bribri Unidad de Apoyo Audiovisual a
la Antropología, https://www.youtube.com/watch?v=kTdaUMHpWb0
• Perez, Danilo. “Prayer.” Rec. 2000. Motherland. Verve Music Group, 2000.
• Poesía Bribri de lo Cotidiano: 37 cantos de afecto, devoción, trabajo y
entretenimiento. Adolfo Umaña, Universidad de Costa Rica, 2006.
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