Afro genocide to enrich ourselves and slavery was abolished in Buenos Aires around 1861 and in other provinces in 1853 , because the so-called Freedom of Wombs ( 1813 ) was a law statement " for the gallery ." We , the academicians , fill our mouths with celebrated and always pertinent theories such as post-coloniality and multiculturalism , always in the avantgarde , but we rarely apply them . It is good to recognize that such a wealth in the past has cemented much of our material and cultural well-being today . Colonial society was slave-dependent . The slaves were used as soldiers in every conflict , from the independence efforts to the Paraguayan War , but they weren ´ t cannon fodder , but so brave that the independence would not have achieved without them . We will never understand the Afro dimension of our music if we do not come to terms with an indissoluble part of our identity , for instance , in this exhibition . In a minimal list , they are worth of mentioning Oscar Aleman , Zenón Rolón , Enrique Maciel , " La Mona " Jiménez , Horacio Salgán , Demetrio Rivero , Fidel Nadal , Rosendo Mendizábal , Gabino Ezeiza , Joaquín Mora and Carlos Posadas , among the many black musicians . Along with the traditional practices , such as the candombe , in the coast and the city of Buenos Aires and its environs , we find two candombe ´ s expressions in Corrientes , another in Santa Fe and other in Paraná , as well as Zemba and Charanda , the songs in the carnival season and the tambora in the Africanized Christian Feast in January 6th . In the Greater Buenos Aires , we also find the Dance of the Saint or Makumba , and the open rumba . As it could not be otherwise , I expressed my dissatisfaction with the authorities and urged that , for remedying the carelessness , the exhibition would give a full account of what it wants to constitute : a tour through the last 200 years of Argentinean music , without discrimination and with all our musical expressions in their respective places . It was done so . If there are no researchers in Olympus , there shouldn ´ t be any detained-dissapeared music . Please , I do not want to live in any more a country of absences .
* Pardo refers to the triracial descendants of Europeans , Amerindians , and Africans . They are neither exclusively mestizos ( Amerindian-European ) nor mulattos ( African-European ). the term has been widely used to identify people with brown skin color .
Bibliography Bayer , Osvaldo ( Dir .) 2010 Historia de la crueldad argentina : Julio A . Roca y el genocidio de los pueblos originarios [ History of Argentine Cruelty : Julio A . Roca and the Genocide of the Aboriginal People ]. Buenos Aires : Red de Investigadores en Genocidio y Política Indígena Argentina [ Network of Investigators in Genocide and Indigenous Politics Argentina .] English 2010 Un queloides cultural . La memoria oral sobre la esclavitud de los porteños descendientes de negros esclavizados ( unpublished ). [ A Cultural Keloid . The Oral Memory on Slavery of the Buenos Aires Descendants of Enslaved Blacks ]. Honorable Mention at The Contest of Brief Essays on Historical Research , National Library and General Archive of the Nation . Faberman , Judith 2005 Las salamancas de Lorenza : Magia , hechicería y curanderismo en el Tucumán colonial [ The Salamancas of Lorenza : Magic , Witchcraft and Healing in the Colonial Tucumán ]. Buenos Aires : Siglo XXI . 2010 Magia , brujería y cultura popular : De la colonia al siglo XX [ Magic , Witchcraft and Popular Culture : From
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