Music of Ecuador

Afro-Ecuadorian music is also a prominent part of the country's scene, with styles such as marimba and bomba stemming from the days of slavery.

In recent years, cities such as Guayaquil and Quito have developed an indie rock scene that has allowed bands such as Da Pawn and La Máquina Camaleön to achieve international popularity.

She keeps the tradition going with her group Grupo Folclórico "Tierra Caliente" de Petita Palma[5] which was given a Premio Eugenio Espejo award in 2007.

The drum is played in both single and compound duple meter and is typically accompanied by an ensemble of three guitars, a shaker, and vocals.

This genre allowed for citizens to feel a sense of belonging as well as the sensation of sentiment and pride of being in a place they called home.

In its waltz, pasillo alters the classically European dance form to accompany guitar, mandolin, and other string instruments.

Within the context of political culture deeply shaped by Catholicism, rock music was considered to be a dangerous movement that seduced the youth.

Consequently, groups such as the Catholic Church, the police, and government institutions denounced Ecuadorian rock music following its arrival.

Rocola Bacalao integrated Andean rhythms and made in their song-texts references to emblematic rural towns, such as Pujilí in Cotopaxi.

Nevertheless, in the 1980s and the early 1990s the rhythm of the social as expressed in Ecuadorian rock was characterized by hopelessness and resistance or even resignation against repression.

The Fundación de Desarrollo Social Afroecuatoriano (AZUCAR) has existed since 1993, and offers a variety of workshops for all ages in music and dance, as well as handicrafts and other topics.