Let's Go Blue! Fanfare [Conducteur et Parties séparées] Theodore Presser Co.
And Two Other Fight Cheers, for Marching Band - Drum Corps Style - Full Score an...(+)
And Two Other Fight
Cheers, for Marching Band
- Drum Corps Style - Full
Score and Parts. By
Albert Ahronheim.
Arranged by Joe Carl.
Concert Band. For
Piccolo, Flute, Oboe,
Bells, Bassoon, Clarinet,
Alto Clarinet, Bass
Clarinet, Alto Saxophone
I, Alto Saxophone II,
Tenor Saxophone, Baritone
Saxophone, Cornet I,
Tenor II, Cornet III,
Horn I, Horn II, Tenor I,
Tenor III, Cornet II,
Euphonium, Tuba, Snare
Drum, Tenor Drum, Cymbal,
Bass Drum, Tom-Tom,
Tim-Toms, Tim-Toms. Score
and Set of Parts. 6
pages. Published by
Theodore Presser Company.
Conductor Score. By John Philip Sousa. Marching band. For Piccolo (in Db), Picco...(+)
Conductor Score. By John
Philip Sousa. Marching
band. For Piccolo (in
Db), Piccolo, Flute I,
Flute II, Oboe I, Oboe
II, Clarinet (in Eb),
Clarinet I, Clarinet II,
Clarinet III, Alto
Clarinet, Bass Clarinet,
Bassoon I, Bassoon II,
Alto Saxophone I, Alto
Saxophone II, Tenor
Saxophone, Baritone
Saxophone, Bass
Saxophone, Cornet I,
Cornet II, Cornet III,
Trumpet I, Trumpet II,
Horn (in Eb) I, Horn (in
Eb) II, Horn (in Eb) III,
Horn (in Eb) IV, Horn I,
Horn II, Horn III, Horn
IV, Euphonium, Tenor I,
Tenor II, Tenor III,
Double Bass, Timpani,
Small Drum. Condensed
Score. 5 pages. Published
by Theodore Presser
Company.
Hands Across the Sea Fanfare [Conducteur et Parties séparées] Theodore Presser Co.
March (Full Score and Parts). By John Philip Sousa. Marching band. For Flute I, ...(+)
March (Full Score and
Parts). By John Philip
Sousa. Marching band. For
Flute I, Flute II,
Piccolo, Oboe I, Oboe II,
Clarinet (in Eb),
Clarinet I, Clarinet II,
Clarinet III, Alto
Clarinet, Bass Clarinet,
Bassoon I, Bassoon II,
Alto Saxophone I, Alto
Saxophone II, Tenor
Saxophone, Baritone
Saxophone, Bass
Saxophone, Cornet I,
Cornet II, Cornet III,
Trumpet I, Trumpet II,
Horn I, Horn II, Horn
III, Horn IV, Euphonium,
Tenor I, Tenor II, Tenor
III, Tuba, Double Bass,
Timpani, Bass Drum,
Cymbal, Small Drum. Score
and parts. 5 pages.
Published by Theodore
Presser Company.
3rd and 4th Horns in F. By John Philip Sousa. Arranged by Samuel Laudenslager. F...(+)
3rd and 4th Horns in F.
By John Philip Sousa.
Arranged by Samuel
Laudenslager. For French
Horn III, French Horn IV.
Part. 8 pages. Published
by Theodore Presser
Company.
St. Martin's Suite Fanfare [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Fanfare Band - Grade 4 SKU: BT.DHP-0920404-020 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 4
SKU:
BT.DHP-0920404-020
Composed by Jan Van der
Roost. Inspiration
Series. Concert Piece.
Set (Score & Parts).
Composed 1992. De Haske
Publications #DHP
0920404-020. Published by
De Haske Publications
(BT.DHP-0920404-020).
This suite was
composed by Jan Van der
Roost on the occasion of
the 110th anniversary of
the ‘Koninklijke
Sint
Martinusfanfare’
(Royal Saint Martinus
Fanfare Band) from Halle
(Belgium). The composer
was required to create a
suite in three movements
based on three images
associated with the
‘Sint
Martinusfanfare’
from the small town of
Halle in the province of
Brabant. The first
movement (Andante
Pomposo) describes
Martin, a soldier in the
Roman army. In Andante
Moderato we see the image
of Martin, who become a
Christian and chooses to
devote his life to God.
In this movement, the
composer was inspired by
the Brabantine gothic art
of the Sint Martinus
Basilica in Halle.
Thecontrast between the
dark Basilica and the
statue of Our Lady
between the soaring
pillars will vividly come
to life for audiences of
this descriptive piece.
The final movement,
Allegro Molto
Vivace’, could
have been an image for a
frivolous peasant in the
Halle carnival. In a
triptych about St. Martin
it is more fitting to
refer to it as an
apotheosis, the crown on
the pastoral work of
Martin, Bishop of Tours,
Patron Saint of the
Fanfare Band and the
Basilica of Halle.
Jan Van der Roost
komponierte diese Suite
anlässlich des 110.
Geburtstages der
Koninklijke Sint
Martinusfanfare aus Halle
(Brabant). Auftrag des
Komponisten was es, ein
dreisätziges Werk zu
schreiben, dessen
einzelne bildhafte Teile
einen Bezug zur Sint
Martinusfanfare
herstellen sollten. Der
erste Satz, ein Andante
Pomposo, beschreibt
Martin, Soldat im
römischen Heer. Das
darauffolgende Andante
Moderato zeichnet ein
Bild von Martin, der sich
zum Christentum bekehrt
und sein Leben Gott
widmen möchte. In
diesem Satz ließ sich
derKomponist von der
brabantischen Gotik der
Sint Martinus Basiliek in
Halle inspirieren. Der
Kontrast zwischen der
dunklen Basilika und der
von hoch emporstrebenden
Pfeilern umgebenen,
strahlenden Statue der
Mutter Gottes wird für
den Zuhörer in
diesemausdrucksvollen
Bild leicht
nachvollziehbar. Der
Schlusssatz, ein Allegro
Molto Vivace, hätte
die musikalische
Beschreibung eines
ausgelassenen
Bauerntanzes während
des Karnevalsumzugs in
Halle sein können. In
einem dem Heiligen Martin
gewidmeten Triptychon ist
es jedoch angemessener,
in einerApotheose darauf
zu verweisen, als
Krönung des pastoralen
Wirkens des Heiligen
Martin, Bischof von
Tours, Schutzheiliger des
Auftraggebers und Stifter
der Basilika in
Halle.
Hymnus Fanfare [Conducteur et Parties séparées] - Intermédiaire Gobelin Music Publications
Fanfare Band - Grade 4 SKU: BT.GOB-000264-020 Composed by Andrew R. Macke...(+)
Fanfare Band - Grade 4
SKU:
BT.GOB-000264-020
Composed by Andrew R.
Mackereth. Set (Score &
Parts). 72 pages. Gobelin
Music Publications #GOB
000264-020. Published by
Gobelin Music
Publications
(BT.GOB-000264-020).
Hymnus was
commissioned by the
Wilhelmina Easterein
Fanfare Orchestra in the
Autumn of 1999 for their
performance at the World
Music Contest,
Kerkrade.
The
commission was the result
of a collaboration
between the composer and
the thenmusical director,
Marten van der
Wal.
The exact
meaning of the word
Hymnus is not known but
it is taken in this
presentation to mean hymn
or hymn-like. The
melodic material is
organic and grows from an
initial unison tone.
Thisinterval is gradually
expanded to form the cell
F E C F, a semitone,
third, fifth. The only
other melodic motif is
the ascending three-note
pattern spanning a major
third. This is the second
of his compositions to
use this ascending motif,
theother being Fanfare
for a Bright New Age for
Brass Band and Organ,
also of 2000. These
characteristic intervals
appear in many
contrasting moods and
guises throughout the
piece.
The
opening unison notes are
intended to convey as
sense ofpower and
magnificence, like the
first sounds at the
dawning of the
universe. After the
immense power, a period
of stunned silence and
reverence. The evolution
of the hymn melody
incorporates a variety of
moods and atmospheres,
sometimes expressing much
joy and celebration
whilst also suggesting
periods of intense
savagery or prayerful
contemplation. The
hymn builds as the piece
progresses and is finally
stated in its complete
form at letter W.
The official
worldpremiere of the work
was given by Wilhelmina
Easterein at the World
Music Contest 2001.
Whilst the composer was
unable to attend in
person, he was able to
enjoy the premier
simultaneously
transmitted via a mobile
phone from the
audience!
Conductors Note The
tempo indications are to
be viewed as a guide
rather than a literal
instruction. Within the
music there is an innate
sense of pulse and metre,
lending itself to
considerable rubato.
Melody is king, and all
else is mere support and
decoration, careful
attention must therefore
be given to balance.
Hymnus Fanfare [Conducteur] - Intermédiaire Gobelin Music Publications
Fanfare Band - Grade 4 SKU: BT.GOB-000264-120 Composed by Andrew R. Macke...(+)
Fanfare Band - Grade 4
SKU:
BT.GOB-000264-120
Composed by Andrew R.
Mackereth. Score Only. 20
pages. Gobelin Music
Publications #GOB
000264-120. Published by
Gobelin Music
Publications
(BT.GOB-000264-120).
Hymnus was
commissioned by the
Wilhelmina Easterein
Fanfare Orchestra in the
Autumn of 1999 for their
performance at the World
Music Contest,
Kerkrade.
The
commission was the result
of a collaboration
between the composer and
the thenmusical director,
Marten van der
Wal.
The exact
meaning of the word
Hymnus is not known but
it is taken in this
presentation to mean hymn
or hymn-like. The
melodic material is
organic and grows from an
initial unison tone.
Thisinterval is gradually
expanded to form the cell
F E C F, a semitone,
third, fifth. The only
other melodic motif is
the ascending three-note
pattern spanning a major
third. This is the second
of his compositions to
use this ascending motif,
theother being Fanfare
for a Bright New Age for
Brass Band and Organ,
also of 2000. These
characteristic intervals
appear in many
contrasting moods and
guises throughout the
piece.
The
opening unison notes are
intended to convey as
sense ofpower and
magnificence, like the
first sounds at the
dawning of the
universe. After the
immense power, a period
of stunned silence and
reverence. The evolution
of the hymn melody
incorporates a variety of
moods and atmospheres,
sometimes expressing much
joy and celebration
whilst also suggesting
periods of intense
savagery or prayerful
contemplation. The
hymn builds as the piece
progresses and is finally
stated in its complete
form at letter W.
The official
worldpremiere of the work
was given by Wilhelmina
Easterein at the World
Music Contest 2001.
Whilst the composer was
unable to attend in
person, he was able to
enjoy the premier
simultaneously
transmitted via a mobile
phone from the
audience!
Conductors Note The
tempo indications are to
be viewed as a guide
rather than a literal
instruction. Within the
music there is an innate
sense of pulse and metre,
lending itself to
considerable rubato.
Melody is king, and all
else is mere support and
decoration, careful
attention must therefore
be given to balance.
Ross Roy Fanfare [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Fanfare Band - Grade 4 SKU: BT.DHP-0971085-020 Composed by Jacob De Haan....(+)
Fanfare Band - Grade 4
SKU:
BT.DHP-0971085-020
Composed by Jacob De
Haan. Inspiration Series.
Festive and Solemn Music.
Set (Score & Parts).
Composed 1997. De Haske
Publications #DHP
0971085-020. Published by
De Haske Publications
(BT.DHP-0971085-020).
Jacob de Haan
was commissioned to
compose this concert
piece by the St. Peters
Wind Symphony from
Brisbane, Australia. Ross
Roy is the monumental
late 19th century villa
where St. Peters Lutheran
College was founded in
1945. The villa has
always remained the
school symbol. In this
composition, Jacob de
Haan sees the Ross Roy as
a metaphor for the years
spent at school (a
monument in time), where
one's personality is
formed. So, the opening
theme the artist calls
the Ross Roy theme
initially has monumental
characteristics.The
rhythmic motion, which
strides along in the
lower register and
percussion at the
beginning of the next
section is typical of
Tempo di Marcia.
Thismovement, accompanied
by repetitions of sound,
is a metaphor for the
structure and discipline
in school. This is the
introduction to a march
theme, symbolic of
passing through the
classes up to the final
examinations.Then, the
Ross Roy theme is dealt
with again, now in a
playful, humorous
variation. As if the
composer is saying there
should also be time for a
smile in school. The same
theme can be heard in
major key and a slower
tempo in the following
section, expressing pride
and self-confidence. This
is also the introduction
to the expressive middle
section that represents
love, friendship and
understanding.We then
return to the march theme
in a slightly altered
construction. The
oriental sounds,
constituting the
modulation to the final
theme, are symbols of the
diversity of cultures in
the school. The
characteristic final
theme first sounds
solemn, but turns into a
festive apotheosis. It is
no coincidence that the
final cadence is
reminiscent of the close
to a traditional
overture, for the school
years can be considered
the overture to the rest
of one's life. The
premiere of Ross Roy was
conducted by Jacob de
Haan in Brisbane, on
August 22, 1997.
Ross Roy
is de naam van de
monumentale villa in
Brisbane (Australië)
waar in 1945 het St.
Peters Lutheran College
is gesticht. In opdracht
van het collegeorkest
componeerde Jacob de Haan
dit gevarieerde
concertwerk vol
metaforen. De structuur
en discipline van de
school horen we in de met
toonherhaling gepaard
gaande ritmische beweging
in basregister en
slagwerk. Het volgende,
martiale thema staat
symbool voor het
doorlopen van de klassen.
Een schertsende,
humoristische versie van
het hoofdthema ontbreekt
niet: op school moet
immers ook tijd zijn voor
vrolijkheid. Het
karakteristieke slotthema
mondt uit in een
feestelijke apotheose.
Ross Roy
ist der Name einer
monumentalen Villa in
Brisbane, Australien, in
der 1945 das St. Peter
Lutheran College
gegründet wurde. Im
Auftrag dieses
Schulorchesters
komponierte Jacob de Haan
dieses Konzertwerk, das
voll von Metaphern ist.
Die Struktur und
Disziplin dieser Schule
hören wir in der mit
Tonwiederholungen
gepaarten rhythmischen
Bewegung des
Bassregisters und des
Schlagwerks. Das folgende
martialische Thema steht
als Symbol für das
Durchlaufen der Klassen
bis zum Ende der
Schulzeit. Eine
scherzhafte,
humoristische Version des
Hauptthemas darf nicht
fehlen, denn in der
Schule muss auch Zeit
für kleine Späße
und Lachen sein! Das
charakteristische
Schlussthemamündet in
einem festlichen
Höhepunkt.
Ross Roy Fanfare [Conducteur] - Intermédiaire De Haske Publications
Fanfare Band - Grade 4 SKU: BT.DHP-0971085-120 Composed by Jacob De Haan....(+)
Fanfare Band - Grade 4
SKU:
BT.DHP-0971085-120
Composed by Jacob De
Haan. Inspiration Series.
Concert Piece. Score
Only. Composed 1997. De
Haske Publications #DHP
0971085-120. Published by
De Haske Publications
(BT.DHP-0971085-120).
Jacob de Haan
was commissioned to
compose this concert
piece by the St. Peters
Wind Symphony from
Brisbane, Australia. Ross
Roy is the monumental
late 19th century villa
where St. Peters Lutheran
College was founded in
1945. The villa has
always remained the
school symbol. In this
composition, Jacob de
Haan sees the Ross Roy as
a metaphor for the years
spent at school (a
monument in time), where
one's personality is
formed. So, the opening
theme the artist calls
the Ross Roy theme
initially has monumental
characteristics.The
rhythmic motion, which
strides along in the
lower register and
percussion at the
beginning of the next
section is typical of
Tempo di Marcia.
Thismovement, accompanied
by repetitions of sound,
is a metaphor for the
structure and discipline
in school. This is the
introduction to a march
theme, symbolic of
passing through the
classes up to the final
examinations.Then, the
Ross Roy theme is dealt
with again, now in a
playful, humorous
variation. As if the
composer is saying there
should also be time for a
smile in school. The same
theme can be heard in
major key and a slower
tempo in the following
section, expressing pride
and self-confidence. This
is also the introduction
to the expressive middle
section that represents
love, friendship and
understanding.We then
return to the march theme
in a slightly altered
construction. The
oriental sounds,
constituting the
modulation to the final
theme, are symbols of the
diversity of cultures in
the school. The
characteristic final
theme first sounds
solemn, but turns into a
festive apotheosis. It is
no coincidence that the
final cadence is
reminiscent of the close
to a traditional
overture, for the school
years can be considered
the overture to the rest
of one's life. The
premiere of Ross Roy was
conducted by Jacob de
Haan in Brisbane, on
August 22, 1997.
Ross Roy
is de naam van de
monumentale villa in
Brisbane (Australië)
waar in 1945 het St.
Peters Lutheran College
is gesticht. In opdracht
van het collegeorkest
componeerde Jacob de Haan
dit gevarieerde
concertwerk vol
metaforen. De structuur
en discipline van de
school horen we in de met
toonherhaling gepaard
gaande ritmische beweging
in basregister en
slagwerk. Het volgende,
martiale thema staat
symbool voor het
doorlopen van de klassen.
Een schertsende,
humoristische versie van
het hoofdthema ontbreekt
niet: op school moet
immers ook tijd zijn voor
vrolijkheid. Het
karakteristieke slotthema
mondt uit in een
feestelijke apotheose.
Ross Roy
ist der Name einer
monumentalen Villa in
Brisbane, Australien, in
der 1945 das St. Peter
Lutheran College
gegründet wurde. Im
Auftrag dieses
Schulorchesters
komponierte Jacob de Haan
dieses Konzertwerk, das
voll von Metaphern ist.
Die Struktur und
Disziplin dieser Schule
hören wir in der mit
Tonwiederholungen
gepaarten rhythmischen
Bewegung des
Bassregisters und des
Schlagwerks. Das folgende
martialische Thema steht
als Symbol für das
Durchlaufen der Klassen
bis zum Ende der
Schulzeit. Eine
scherzhafte,
humoristische Version des
Hauptthemas darf nicht
fehlen, denn in der
Schule muss auch Zeit
für kleine Späße
und Lachen sein! Das
charakteristische
Schlussthemamündet in
einem festlichen
Höhepunkt.
Amazonia Fanfare [Conducteur] - Intermédiaire/avancé De Haske Publications
Fanfare Band - Grade 6 SKU: BT.DHP-0900226-120 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 6
SKU:
BT.DHP-0900226-120
Composed by Jan Van der
Roost. Sovereign Series.
Concert Piece. Score
Only. Composed 1990. De
Haske Publications #DHP
0900226-120. Published by
De Haske Publications
(BT.DHP-0900226-120).
This major
concert work cosists o
five movements.1st
movement: La Laguna del
ShimbeSituated high up in
the Andes mountains in
Northern Peru are the
Huaringas, a group of
lagoons in isolated and
mysterious surroundings.
The water has healing
powersand for centuries
traditional healers have
settled there in small
villages. From far the
sick come to the
Huaringas to be treated
in nightly rituals, in
which the hallucinating
juice of the San Pedro
cactus gives the prophet
a look inside hispatient.
The biggest lagoon is the
“Laguna del
Shimbeâ€, one of the
countless wells of the
immense Amazon stream.2nd
movement: Los
AguarunasFurther
downstream in Northern
Peru we come across the
rain tribe of Los
Aguarunas. It’s a
proud, beautiful
andindependent race,
which has never succumbed
to domination, not even
from the Incas. They live
from everything the
forest has to offer:
fish, fruit, plants, ...
. They also grow some
crops and live as
semi-nomads. They take
their fate into their
ownhands and after having
made contact with modern
civilisation, they have
integrated new elements
into their lives without
betraying their own
ways.3rd movement:
MekaronMekaron is an
Indian word meaning
“pictureâ€,
“soulâ€,
“essenceâ€.
The Indians are
theorigina inhabitants of
the Amazon region. They
either live in one place
as a group or move around
a large region. They all
have their own political
system, their own
language and an intense
social life. At the same
time they are master of
music andmedicine.
“Everywhere the
white man goes, he leaves
a wilderness behind
himâ€, wrote the
North American Indian
leader Seatl in 1885. As
a result of these
contacts with the whites,
the disruption of most
Indian societies began.
(In this century alone,80
tribes have vanished
completely).4th movement:
KêêtuajêThis is
the name of the
initiating ceremony of
the Krahô tribe in the
Brazilian state of Goias,
in which young boys and
girls enter adult life.
They are cleansed with
water, painted with
redpaint and covered with
feathers, after which the
ritual dance holds the
entire tribe
spell-bound.5th movement:
Paulino FaiakanIn 1988
the Indian chiefs Faiakan
and Raoni Kaiapo came to
Europe to protest against
the building of the
Altamira dam inBrazil. As
a result of the dam the
Indians would be driven
from their traditional
land and enormous
artificial would be
created. The project was
supported financially by,
amongst others, the
European Community. In
February 1989 the Indian
tribesaround Altamira
held a protest march for
the first time in their
history together. Amongst
other things they paid
tribute tot Chico Mendez,
who, murdered in 1988,
was the leader of the
rubber syndicate and a
fierce opponent of the
destruction of
theBrazilian rain forest.
Brazilian and world
opinion was awakened. The
building of the dam was
-albeit temporarily -
stopped.
St. Martin's Suite Fanfare [Conducteur] - Intermédiaire De Haske Publications
Fanfare Band - Grade 4 SKU: BT.DHP-0920404-120 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 4
SKU:
BT.DHP-0920404-120
Composed by Jan Van der
Roost. Inspiration
Series. Concert Piece.
Score Only. Composed
1992. De Haske
Publications #DHP
0920404-120. Published by
De Haske Publications
(BT.DHP-0920404-120).
Jan Van der
Roost komponierte diese
Suite anlässlich des
110. Geburtstages der
Koninklijke Sint
Martinusfanfare aus Halle
(Brabant). Auftrag des
Komponisten was es, ein
dreisätziges Werk zu
schreiben, dessen
einzelne bildhafte Teile
einen Bezug zur Sint
Martinusfanfare
herstellen sollten. Der
erste Satz, ein Andante
Pomposo, beschreibt
Martin, Soldat im
römischen Heer. Das
darauffolgende Andante
Moderato zeichnet ein
Bild von Martin, der sich
zum Christentum bekehrt
und sein Leben Gott
widmen möchte. In
diesem Satz ließ sich
derKomponist von der
brabantischen Gotik der
Sint Martinus Basiliek in
Halle inspirieren. Der
Kontrast zwischen der
dunklen Basilika und der
von hoch emporstrebenden
Pfeilern umgebenen,
strahlenden Statue der
Mutter Gottes wird für
den Zuhörer in
diesemausdrucksvollen
Bild leicht
nachvollziehbar. Der
Schlusssatz, ein Allegro
Molto Vivace, hätte
die musikalische
Beschreibung eines
ausgelassenen
Bauerntanzes während
des Karnevalsumzugs in
Halle sein können. In
einem dem Heiligen Martin
gewidmeten Triptychon ist
es jedoch angemessener,
in einerApotheose darauf
zu verweisen, als
Krönung des pastoralen
Wirkens des Heiligen
Martin, Bischof von
Tours, Schutzheiliger des
Auftraggebers und Stifter
der Basilika in
Halle.
Amazonia Fanfare [Conducteur et Parties séparées] - Intermédiaire/avancé De Haske Publications
Fanfare Band - Grade 6 SKU: BT.DHP-0900226-020 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 6
SKU:
BT.DHP-0900226-020
Composed by Jan Van der
Roost. Sovereign Series.
Set (Score & Parts).
Composed 1990. De Haske
Publications #DHP
0900226-020. Published by
De Haske Publications
(BT.DHP-0900226-020).
This major
concert work cosists o
five movements.1st
movement: La Laguna del
ShimbeSituated high up in
the Andes mountains in
Northern Peru are the
Huaringas, a group of
lagoons in isolated and
mysterious surroundings.
The water has healing
powersand for centuries
traditional healers have
settled there in small
villages. From far the
sick come to the
Huaringas to be treated
in nightly rituals, in
which the hallucinating
juice of the San Pedro
cactus gives the prophet
a look inside hispatient.
The biggest lagoon is the
“Laguna del
Shimbeâ€, one of the
countless wells of the
immense Amazon stream.2nd
movement: Los
AguarunasFurther
downstream in Northern
Peru we come across the
rain tribe of Los
Aguarunas. It’s a
proud, beautiful
andindependent race,
which has never succumbed
to domination, not even
from the Incas. They live
from everything the
forest has to offer:
fish, fruit, plants, ...
. They also grow some
crops and live as
semi-nomads. They take
their fate into their
ownhands and after having
made contact with modern
civilisation, they have
integrated new elements
into their lives without
betraying their own
ways.3rd movement:
MekaronMekaron is an
Indian word meaning
“pictureâ€,
“soulâ€,
“essenceâ€.
The Indians are
theorigina inhabitants of
the Amazon region. They
either live in one place
as a group or move around
a large region. They all
have their own political
system, their own
language and an intense
social life. At the same
time they are master of
music andmedicine.
“Everywhere the
white man goes, he leaves
a wilderness behind
himâ€, wrote the
North American Indian
leader Seatl in 1885. As
a result of these
contacts with the whites,
the disruption of most
Indian societies began.
(In this century alone,80
tribes have vanished
completely).4th movement:
KêêtuajêThis is
the name of the
initiating ceremony of
the Krahô tribe in the
Brazilian state of Goias,
in which young boys and
girls enter adult life.
They are cleansed with
water, painted with
redpaint and covered with
feathers, after which the
ritual dance holds the
entire tribe
spell-bound.5th movement:
Paulino FaiakanIn 1988
the Indian chiefs Faiakan
and Raoni Kaiapo came to
Europe to protest against
the building of the
Altamira dam inBrazil. As
a result of the dam the
Indians would be driven
from their traditional
land and enormous
artificial would be
created. The project was
supported financially by,
amongst others, the
European Community. In
February 1989 the Indian
tribesaround Altamira
held a protest march for
the first time in their
history together. Amongst
other things they paid
tribute tot Chico Mendez,
who, murdered in 1988,
was the leader of the
rubber syndicate and a
fierce opponent of the
destruction of
theBrazilian rain forest.
Brazilian and world
opinion was awakened. The
building of the dam was
-albeit temporarily -
stopped.