The lunar calendar, much more natural and exact than the current Gregorian-solar calendar, used by many of the pre-Hispanic cultures in America and its manifestations through forms and figures would be, as a starting point, some of the keys left by the ancient Guancavilcas and that today could be used for the musical reinterpretation of this people who covered extensive areas of the current provinces of Manabí, Santa Elena and Guayas, according to the first investigations carried out on the subject by the Ecuadorian musician and researcher Schuberth Ganchozo.
This first experience of sharing the results with the public is part of the research that has as its ultimate goal to leave the technical and scientific bases for the formation of the first GUANCAVILCA CLAY ORCHESTRA, which will be created based on the ceramic tradition still in force in the Peninsular communes.
Joffri Campins, producer of Ganchozo, Musical Art in Bamboo, explained that since June 2011, researcher Schuberth Ganchozo has been conducting research activities in the field of Archaeology and Ethnomusic with the aim of demonstrating that Guancavilca Musical Thought is present in the historical development of our Culture and that the structures of the design of statuary, ceramics, seals, as well as the Geodetic position of the cities, contain elements of the Ancestral COSMOAUDITION of the Guancavilca Culture.
During the conference MUSICAL CONTINUITY IN GUANCAVILCA CULTURE, which the musician and researcher offered a few days ago in Santa Elena, the presentation of the first instruments, still in the experimental phase, that will form part of the Orquesta de Barro was also made. There was even a musical performance that included percussion and wind instruments made of clay that, together with others made of bamboo cane, mesmerized the audience for several minutes at the Amantes de Sumpa museum auditorium, one of the oldest sites of recorded human activity in Ecuador and America.
The absence of the main provincial and sectional authorities who were invited was notable, a fact regretted by a large number of attendees, since, according to several of them, this could well be: "one of the most important investigations that have been carried out to reveal an important part of the ancestral culture of the peninsular peoples through the music and instruments that they could have played."
Ganchozo even indicated that in order to carry out this project to the end, the support of the authorities is essential in an EFFECTIVE manner; and although he stated that his first option due to the historical context of the province is that the project be carried out entirely in Santa Elena, on the other hand there are more advanced proposals from municipalities in the south of Manabí to support this very important cultural project that is taking place for the first time in our country.
Meanwhile, the research is progressing with the support of the Garza Roja Foundation and the Higher Institute of Art of Ecuador (ITAE).
Will Santa Elena be the birthplace of the first Orquesta de Barro, which could end up having up to 90 different instruments? Much will depend on whether the authorities decide to decisively support this project, a situation that has not happened so far.
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