Joviyazuri, Joviyazuri..
El son de mi alma viaja
viaja en las aves hacia...
El son de mi alma viaja
viaja en las aves hacia ti...hacia ti...
Durmiendo está
Va a despertar
Del cielo viene
Es tu cristal
Soñé que me ibas a soñar
Joviyazuri, Joviyazuri...
Y al despertar
La inmensidad
Enciende el fuego
Andá probá
Cantá secretos
Abrillantá... Yasitata vera vera...
Joviyazuri
Joviyazury...
Canta Gwandena
Brota y alegra
Déjate llena
Madre que ensueña
Mamma Gwandena
Florece y vuela
Deja una huella
Llena y llena
Bebe Gwandena
Agua de estrellas
Piedra del Sol
Mujer del cielo
Canta Gwandena
Madre que ensueña
Déjate llena
Brota y alegra
Bebe Gwandena
Agua de estrellas
Piedra del Sol
Mujer del cielo soy
Hanaj Pacha (Cielo- del cielo)
Killa Ch’aska (Luna- Estrella)
Kay Pacha (mundo terrenal)
Killa Ch’aska (Luna-Estrella)
Soy Mamma Gwandena
Mujer del cielo soy
Soy Mamma Gwandena
Guira Tüpa ete che (Pájaro eterno verdadero soy)
Cheti Korepoti peño (Sólo con mi pico de plata)
Anoe va ko che (Que saca soy)
Röisa (Calma)
Pájaro eterno soy
Pico de plata y la gran ave eterna
Del cielo soy
Grandes alas tan abiertas
Gira Vuela al brillar
El frío de las alas calma
Calma el cielo al bailar
Baila el cielo al cantar
Esa esa! alegría alegría!
El Pico de Plata
Pájaro soy!
Te habías volado bien bonito
Estoy bailando en circulares
De auroras auroras boreales (2)
De plata… Ayayyyy
Yo soy…. Ayayyy
Siempre brilla… Ayayyy
Ave yo soy
Del medio cielo soy
Viene Pico de Plata ave eterna
Sin miedo voy
Encienden grandes alas tan abiertas
Calma todas las cosas
Gira vuela al brillar
Calma el cielo al bailar
Baila el cielo al cantar
Cheti Korepoti
O vera vera va che
O vera vera va che
O vera vera va che
On Gwandena, the Bolivian artist TIMPANA maps out a metaphysical journey across her home country, and through various states of being. Indigenous and African instrumentation meet electronic drums and synths on an album that veers between moments of slowly-revealing transcendence and urgent, rhythmic cries as the world appears different to how we ever imagined it.
TIMPANA began as a duo, but has been the solo project of artist, performer and musician Alejandra Lanza for over 10 years. Gwandena is the first solo album in this iteration, and sees Lanza working with fellow Bolivian producer Chuntu, as well as fellow masters of Afro-Andean wind and percussion instruments. Together they have created a work that is complex in both its musical construction – being that it references and merges rhythms and cadences from the Andes, Amazon and Afro-Latin traditions – and in its narrative.
Gwandena tells the story of Talina, a young girl on a journey of self-knowledge. She is guided by a hummingbird called Jovi and must come face-to-face with herself, but not in a way she ever planned. The story begins with “Jovi”, introducing her hummingbird guide on a powerful track adorned with a multitude of Andean influences (pounding wankara drum, ronroco strums and wind instruments such as the quena). “Zayanqu” is the track when Talina realises she is more powerful than she ever imagined. Sung in Quechua, the word “zayanqu” is a shot of lightning. With the sound of the electronic elements now turned up fast, it’s clear that all is not as it seems, especially now that Jovi is dead. On the following track, “Estrella Brillosa” she travels to the centre of the earth to confront her fears, finding spiritual guides that through a Guaraní chant give her strength.
Discussing the use of Quechua and Guaraní, as well as Spanish, lyrics in the songs Lanza explains that their use comes from a tradition of telling myths and legends in these languages, that comes from her ancestors: “I found that the mystical and the mysterious are combined in such a way in these languages that the characters of Gwandena are born and are found there among dreams, rituals, the sacred and the profane. The languages I use, apart from the fascinating sound that I experience when singing them, come out of a desire that they last and not be lost. When I’m singing them it takes takes me to another time, to the nostalgia of the beginning of all things.”
As for Talina, she meets her great-grandmother, Gwandena, on the title track, a torrent of Afro-Amazonian-Andean rhythms that builds and builds and builds. After Gwandena reveals that she is the same being as Talina, she teaches her how to heal using plants, leading to the resurrection of Jovi on “Pájaro”. It’s a tale not for the faint-hearted but teaches us a lot about the cyclical nature of existence, with death always followed by rebirth, and how Bolivia’s native peoples place myths, rituals, dreams and reality on an equal footing. “Amayu” sees Talina and Jovi combine, its story stemming from a Guaraní legend of the hummingbird: “when someone dies, their soul flies to hide in a flower, until a hummingbird arrives to guide it to its destination”, says Lanza.
The final track is “Espejo”, in which Lanza’s voice seems to rise to another plane of existence – the guiding light throughout the whole album, here her voice sounds otherworldly, especially with the simple accompaniment of a hand drum, solitary synth and the spell-binding backing voices. Lanza describes it as a “song of love, an awakening in the reflection [espejo translates as mirror] of the other… it is everything.” Inspired by the theory of evolution from Theosophy, Talina, Jovi and Gwandena become the same being, a being that is part of, and one, with the universe.
TIMPANA and Gwandena’s producer, Chuntu, were both featured in Bandcamp’s spotlight on Bolivian music earlier this year as artists pivotal in contributing to and promoting “Bolivia’s rich artistic universe”, and Gwandena is their finest statement of intent yet, an album that draws from Bolivia’s myriad traditions and belief systems, with a vocal performance that is sure to earn Lanza plaudits as one of Latin America’s finest singers and interpreters. It’s also an album that can hold its own against the best folktronica and other contemporary iterations of pan-Latin identity being made right now.
credits
released September 30, 2022
Ale Lanza: vocals, percussion and samplers
Chuntu: keyboards, synths and samplers
Luciel Izumi: ronroco on “Jovi”; charango on “Gwandena” and “Pájaro”.
Cucó Pachá Kutí: toyos, quenas, quenachos and other wind instruments, and percussion, on “Jovi”, “Gwandena”, “Pájaro” and “Espejo”.
Miguel Crespo: wankara and caja on “Jovi”; bombo on “Espejo”.
Amado Espinoza: djembé and seed shaker on “Estrella Brillosa”, “Gwandena” and “Amayu”.
Post Production by IntiChe
Mixed by Javier Hernández
Mastered by Emiliano Dubsalon
Lyrics by TIMPANA (Alejandra Lanza)
Music by Chuntu (Simón Peña) & TIMPANA (Alejandra Lanza)
Produced by Chuntu (Simón Peña) & TIMPANA (Alejandra Lanza)
TIMPANA is a founding member of Primavera Anónima, a social impact-driven creative collective founded digitally in Shanghai. Current projects raise funds for digital health projects in El Alto, Bolivia.
TIMPANA creates her own sound based on native vocal techniques from Bolivia and the
world.
Since 2009 with her debut album Alma Perdida she has come with a world music influence that now with Gwandena she experiments even more with electronic elements and sounds, indigenous instruments, native songs in Spanish, Quechua and Guarani, with a strong Afro Andean Amazonian influence....more
Je me suis effondrée en larmes dès les premières notes de certaines chansons. Elle a perdu sa mère, j'ai perdu mon père. Album magnifique comme toute son œuvre! C'est son dernier album et j'espère qu'elle en créera d'autres! Lavinie Cloutier
I love these women. the voices mesh together perfectly; also the world music is exceptional. I have all of their albums and they're all excellent. Give them a listen. Steve Lake