ʸʰɚɒdʰɐ ʰɚɒdʰɐ ʰɚɒdʰɐ ʰɚɒdʰɐ ʰɚɐdʰɒdʰɒdʰɒdʰ.
The indigenous community is composed of 102 people.
And it started in the...in the...in the...in the...in the year 1999.
It has ten years of being as an indigenous community.
It is located in the municipality of Zaragoza, four kilometers from the municipality of Zaragoza.
I am native of the indigenous community of San Andrés de Sotavento.
I have been in the community for fifteen years now.
And we are working here in the community.
I have been in the community for forty-seven years.
I am native of the indigenous community of San Andrés de Sotavento.
I arrived in 1984.
I came from there because...
the difficulty of access to land and work was difficult for me.
And that's why I had to move to this place
to be able to look for a new horizon, to look for a new life.
And so to have to...to survive in this land.
The thing that I have just finished is that, for example, that is a mystery.
That you have a little bird.
A bird with a head there that looks like a chicken.
But the difference is that it has a head there.
And it is a pico with a pico.
It has finished.
It is a little bird down there.
As you can see, there are a few details that I give here in this wood over there.
But it is a little bigger.
It is a pico and it has a long pico.
Here in Antioquia it sings a lot.
Here we have it as a resident.
Do you think it grows?
Because it has just finished singing?
Yes, when it sings one, it grows like this.
Sometimes it sings two.
Or it sings one.
It grows.
Sometimes what comes on the horizon is the sky.
It grows.
And it was precise.
It was boring.
In San Andrés de Sotamento, when it sang,
where I was born,
they said that when it sang, it was dead.
Previously, we had a grandfather there.
When we, the grandparents, we saw that they had their idea.
They said that they were already singing.
In the morning, because it was 5 am,
they said that they were going to die.
And that was precise.
For example, that is a story or a mystery
that Paolo has.
That if there are many times that this happens,
that when there is an accident or something like that,
it sings.
When I got up,
when my grandmother was a child,
she said to me,
take a boat and put that bird on the cruise
so that the bird should sing.
And there is no death.
Traditionally, it is done,
it is done by the bell.
When the person dies,
the patient who is alive,
there are a series of activities
that are done in the company,
because it is called company.
Why? Because people come to accompany,
there you drink chicha,
you also drink this nyeke,
which is a typical drink also of the Zenus.
The chicha of Masato
is a very traditional drink
of our indigenous Zenu entity.
It is a drink that is used
in the special activities,
such as the dances,
such as the bell.
The chicha of Masato is prepared
first to be made in corn,
to make a chicha.
It is made with corn,
the corn is caught,
it is peeled.
Then it cooks,
after it is cooked, it dies.
It is wrapped with beehive.
After it is ground,
it is tied like a tamal,
from there it is cooked.
It is wrapped with beehive,
and the dough is peeled again
with an artisanal peel.
It is already peeled,
it is already waiting for it to ferment
for about 2 days,
and it is ready to be found.
It is fermented with the potato.
It is made with taro, a pot,
and it is born with the potato.
From there it begins to drain,
and the water is going to kill the base
and it is ready to be made with a chicha.
This is the preparation of the Masato chicha.
In Tuchin,
the chicha is made with hot pepper,
to make a baptism,
for a marriage.
This is how the Masato chicha is made.
This is what our ancestors,
our grandparents taught us.
This is what the chicha taught us.
It taught us how to make the nieke.
This was a custom
that we followed through it,
because they traditionally
left us that way of living,
that way of culture,
that way of accompanying,
that way of communicating
with each other,
because this is a way of communicating
with each other.
As for traditional foods,
they are also
rescuing
one of the traditional foods
because it is rescuing
and we are identified
because it is the question
of the chicha,
of the moncholo.
In the moncholo
they bring it from the
from the sienegas.
The biggest size
that I have taken in the moncholo
is about 40 cm.
This is how much I have taken.
I have taken the chicha,
the chicha is taken in May
and the one with the moncholo is also taken.
To prepare a moncholo
first of all you need
to have
the moncholo first, right?
You take the chicha,
the chicha, the chicha,
and you put it in the pot.
And after the pot,
since they are quite toasted,
we take them
and we take them to a pot
and we serve them
a pot
that leaves the smoke.
From there
when it has been smoked for 2 days
you put it in the pot again
then it comes
and you take out the pot.
When we finish
all that part
since we have finished
what is the most delicious meat
we eat it with our hands, we draw it.
And if you don't want the moncholo
if you don't leave it like this
tomato, onion
chicha, garlic
and since it brings its calcium
we strengthen it.
And it is already eaten with rice
with yuk
with chicken.
Among them it is going to be a moncholo
as they break that rake
and they make a large part
in the majority
in the quality and nutrition
that gives for the sustainment
of our lives.
It comes from
grandparents
so
that's why you have to
preserve that
that tradition.
For example, when you already
say to your grandmother
this goes like this
and so on
and you take that
that tradition
you record
where you go
you know what is going to prepare
food
for example how to make a moncholo
how to make a zankocho
how to do all these things
I would say that
a long time ago
because that comes from
inheritance
from our grandparents
from the conquest there in 1500
that was
that was
what they used
because the indigenous people
made too much time.
Well, the rake is used
for many artisans
for
to elaborate the sombrero
many things in artisans
especially as I said
the main
the rake
the one I have in my head
the traditional
there are different
different modes
this is
the most identity
that culture has
the most identity
where you see
a person with a rake
rake
that is a person
who is
indigenous
and if he is not indigenous
it is the sombrero
elaborate
by the indigenous
now it is said that when
the man is in love
that over there
he fell in love with a young
it is easy
to know him because
it is placed
this part here
on the left side
on the right side
look how
identify
identify those customs
in the Seno people
the painting of the sombrero
or the traditional sombrero
is always
are
names of animals
animals that are
in the indigenous area
look here we have
this painting that is here
it is called
the eye of the rooster
animal that lives
that lives
that accompanies
our indigenous people
this
this
this painting that is here
is the pylon
that we use it
to pile the corn
to pile the rice
so look here
the figures or the paintings
are names that accompany
the indigenous people
when there are parties
parties
for example, patronals
for example, in the regard of
San Andrés de Sotavento
they do the party of San Simón de Ayuda
there
the staff goes
to go to that party
everyone
should go with the sombrero
the one who does not go
with the sombrero
does not enjoy the party
in the indigenous people
it is practically used
in the Fandango dance
Fandango
what is Fandango
the cumbia
in others I have not seen it
but mainly in the Fandango
when they make those wheels
patronals of each
of each movement
of each community
each one has a saint
and each year
they make that party
to that saint
so there
they make a part
where
they group
they take the musicians
from there
they come to play
so the one who
goes
the one who goes to dance
already goes to dance
in the Fandango rounds
so there is used the sombrero
mainly for that
event
if we want to continue alive
if we want to be
recognized
at the national level
at the
international level
we must preserve those traditions
we must
practice it
we must practice it
we must learn it
and we must put it in full
how to rescue
and how to learn those traditions
because they are very important
to continue alive
as indigenous people
that's why
young people
because they are the ones
who take the future
in the morning
because in this way
with many indigenous people
there are already people of 60 years
of 70 years of 50
of 40
and those are the ones
that you are going to rescue
to those of us
we knew
we have to tell the children
young people
who learn from us
what was good
because they have lost a lot of culture
because before the old
what they knew
they didn't tell the children
what they knew
that's why they have lost a lot of plants
many traditional doctors
who knew a lot
of illness
they died and that was taken
so that's why it's important
as well as
to learn from one
what is the future of the past
of what is coming
because if I don't tell the children
look, in this year
time was like this
you didn't learn
but as you are learning a lot
that's why it's important
that the young people, the children
learn from us
that's important
here are three colors
and three layers
of corn
this is a color
it has a name
this is the blue corn
you can't compare
with this yellow
this is the black corn
this has a color
we can't compare
this is light
this is light
here I have
two colors
this is the maikariako
you can't compare
with this
this is maikariako
we use it for the corn
and for the chocolate
and this is the white corn
we use it
to eat
and to eat
but you can't compare
this is maduro
thanks for watching
