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El Son del Fin del Camino
The Song at the End of the Road
 Charlottesville, Virginia
United States
RATINGS (5)
Idea
5.05.05.05.05.0
Team
5.05.05.05.05.0
Chance of Success
5.05.05.05.05.0
Tags:  peru  roots  music  afro  peruvian  highway  amazon  sicuani  salsa  cumbia  guitar  andes  indigenous  native  inca  lima  cusco  huayno  brazil  art  development 
Synopsis: What gets paved over in the pursuit of “development?” Led by Peruvian philosopher Lucho Mena and clown Lourdes Saenz de Bravo, global roots musicians David Berzonsky and Estela Knott travel deep into the Andes to record and unite Peru’s indigenous musicians.

Lima. The mixing pot. Here Salsa, Cumbia, and Merengue give way to roots music. The landó, the festejo, the highlands and coastal fusion styles the Marinera, Samba-cueca, techno-cumbia, chicha, huayna, and saya. The authentic antithesis of what’s paraded out for the gringos.

Nevermind the ponchos and pan flutes. Think cajón (wooden box), guapeo (clay pot), and quijada (jawbone of a burro), indigenous instruments of the Afro-Peruvian beat, backed with guitar and double bass. Shaped by the neo-African slaves of the 1700s, Afro-Peruvian music assimilates into its Creole heart everything from the Spanish jota, the Viennese waltz. A fusion of forms, its coastal rhythm is echoed in the highlands, there taking different Andean cues.

Enter Sicuani, in the province of Cusco, halfway to Lago Titicaca. Here local musicians innovate on Peru’s pre-encounter musical traditions, the huayno and yaraví. In Sicuani, our story truly begins … and potentially ends.

Roots music is about origins. What inspires a Herbie Hancock or Paul Simon and sires the latest incarnation of the New York Mambo. It is the music of rite and passage. By the beach or in the highlands of Sicuani, it innovates and informs, secret, secluded and sacred – formulated on a geography and way of life, fragile and impermanent.

On Sicuani’s near horizon is Transamazônica, the Trans-Amazon Highway. After the construction of its Brazilian leg, deforestation and cultural degradation followed, bringing with it agribusiness and cattle-ranching schemes. Entire villages were wiped away in the name of economic development. This highway is slated for Sicuani in 2010.

The largest obstacle to this fusion project may be the musicians themselves, who come from disparate geographies and traditions – and bring with them their own prejudices, jealousies and indignations. Can these artists unite to preserve their roots? Or will their artform be buried under 4,000 miles of asphalt?

EL SON DEL FIN DEL CAMINO debunks the notion of the Third World as a cultural backwater – establishing it, instead, as the true root of artistic tradition, authenticity and innovation – without which the developed world loses its inspiration … possibly forever.
IndieGoGo URL:  http://www.indiegogo.com/ElSonDelFinDelCamino
InfoMediaFundingQuestionsTeamPrivate 
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David Berzonsky

A highly-accomplished bassist, composer and teacher, Berzonsky’s credits range from west African traditional music to jazz, funk, acoustic folk and various types of Latin and Caribbean popular music. David has performed with Cheick Hamala, Sergio Borges, Corey Harris, John Dearth, Baaba Seth and Los Cojolites (played on Frida soundtrack). He is the co-founder of global roots fusion band Lua. (www.froblossom.com)
LINKS
Javier ALzo Figueroa A singer-songwriter in the Nueva Trova style, a blend of elements from Cuban son, with Nueva Cancion, a folk style that accompanied the Latin American protest movements of the 70’s, and 80’s. Lazo’s music has a distinct Limeño sound. Blending ancient stories, myths and customs, his use of spare, elegant poetry in his songs is considered a great innovation in the evolution of Afro-Peruvian music. He has played and written songs for Latin Grammy winner, legendary world singer Susana Baca.
Coca Kintucha (Spanish) Album review of Coca Kintucha a Peruvian roots album by Mino Mele and Gisela Perez-Ruibal.
Peru Soundtrack Music A selection of music from the artists we'll be using. Pretty evocative stuff but it doesn't have any of the hardcore Afro-Peruvian stuff or any real huaynos - which we'll be recording in Peru.
InfoMediaFundingQuestionsTeamPrivate 
FUNDING
Goal
$2,000
How will these funds be used?
Travel and subsistence: $2,000
(airfare, car, hotel, meals)
VIP PERKS
$10 Gracias! • Thank you! (Every bit helps.)
$100 DVD/CD, plus screen credit • your name in the closing credits
• a DVD of the completed film
• a CD of the soundtrack
$1,000 5 DVDs/CDs, tix, screen credit • your name in the closing credits
• 5 DVDs of the completed film
• 5 CDs of the soundtrack
• 2 tickets to the premiere
InfoMediaFundingQuestionsTeamPrivate 
QUESTIONS AND ANSWERS
What makes El Son del Fin del Camino different?
Some of this music has never been heard by the outside world. I'll be filming a 24 hour indigenous musical celebration by Lake Titicaca which no gringo has ever before attended.
What is the name of the legal entity behind this project, if any?
Amoeba Films
Tip: Ask a question of your own down in COMMENTS!
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TEAM MEMBERS
brianwimer
Owner
david.berzonsky
Team Member
A highly-accomplished bassist, composer and teacher, Berzonsky’s credits range from west African traditional music to jazz, funk, acoustic folk and various types of Latin and Caribbean popular music. David has performed with Cheick Hamala, Sergio Borges, Corey Harris, John Dearth, Baaba Seth and Los Cojolites (played on Frida soundtrack). He is the co-founder of global roots fusion band Lua. (www.froblossom.com)
InfoMedia