MADRID, Spain.- Mozambique, one of the most popular rhythms in Cuba in the 1960s, was created by Pedro Izquierdo Padrón (1933-2000), known as Pello el Afrokán.
The percussionist, born on January 7, 1933 in the Jesús María neighborhood of the capital, grew up in a musical environment and surrounded by great drummers of the time; which would influence his development as an artist and the conception of mozambique, which included elements of the conga and rumba.
His father was one of the first percussionists in the Belisario López orchestra and he was a cousin of Mongo Santamaria.
Pello el Afrokán performed for the first time at the age of 12, along with his brothers Gilberto and Roberto, at the Teatro Martí.
At the age of 30, when his talent was already recognized in Cuba, he introduced the Mozambique to the public, whose popularity spread rapidly not only on the island, but throughout much of the world.
The way of dancing the Mozambique, bending the knees and lowering the body, while putting one foot forward, was also created by him.
Both Pello el Afrokán and his band were visually very striking, as well as charismatic, which contributed to their being in fashion for years. The support of cultural institutions also contributed, which saw in Mozambique a purely national genre, which contrasted with foreign rhythms such as rock and roll, prohibited in Cuba in those years.
In his lyrics, the Mozambique sang to women, to everyday life, to characters like Chano Pozo… Among the most representative songs are “Ileana wants chocolate”, “Mozambique No. 1” and “María Caracoles”.
In those years the Mozambique is included in the cinema: In the film Memories of Underdevelopmentby Tomás Gutiérrez Alea and in the short those of the danceof Nicolas Guillen Landrian.
Years later, with the era of Juan Formell with Los Van Van and Chucho Valdés with Irakere, the Mozambique and Pello el Afrokán were relegated. However, his legacy remained for Cuban musical historiography.
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