Luzmila Carpio - Ama Sua, Ama Llulla, Ama Qhella (live)

Descarga el nuevo video musical de Luzmila Carpio #Inti #Watana : lnk.to/luzmilacarpioelretornodelsol "Ama Sua, ama llulla, ama qhella" es el código moral Inca que dice "no robes, no mientas, no seas holgazán". Canción escrita y compuesta a mediados de la década de 1970 por Luzmila Carpio en defensa de las culturas indígenas de Bolivia, Perú y Ecuador. En una década donde la diversidad cultural se ve amenazada, su objetivo era recordar el mensaje de sus antepasados: "Waranqa wataq pasachun, Ama chinkachunchu Waranqa wataq pasachun, Ama chinkachunchu Keshwa parlayninchiq, Ch'uwallakakuchun. Keshwa rimayninchiq Ch'uwallakakuchun # Ama sua, ama qhella, Ama llullakuychu Ama sua, ama qhella, Ama llullakuychu, Jina yuyarisun Inkaj parlayninta! Jina yuyarisun Inkaj rimayninta! # Yuyarisun, yuyarisun! Ama qonqasunchu! Yuyarisun, yuyarisun! Ama qonqasunchu! Inti k'anchamushan! Jallalla, jallalla! Inti k'anchamushan! Jallalla, jallalla!" Luzmila Carpio artistic work has always been associated with a deep engagement of the artist with values such as ecology, humanism and ethics based on her rich indigenous tradition. About Luzmila Carpio Luzmila Carpio is a Bolivian singer, songwriter, composer, record producer, and actress of Quechuan origin who for over half a century has spread ancestral Andean knowledge and music all over the world. Luzmila’s music is particularly important in this global context of a reencounter with native roots, a new awakening of the conscience and the connection with the natural world, with the Pachamama. Her music transmits sensitivity towards the earth, respect for Latin American indigenous traditions and vindicating the role of women in our society. As a small child, she learned the daily songs of the Quechua and Aymara indigenous peoples that inhabit the Bolivian Altiplano. Contrary to the prevalent trend of modernization, she started looking deeper into the cultural and musical ways of the Andes and singing in Quechua, rather than Spanish. The main ingredient was not to please the audiences that kept growing but rather to use her music as an expression of rebellion against the predominance of western cultural ways over indigenous ones, as a way to build more harmonious relationships among the peoples of the world. Her early compositions are until today considered by many as a symbol for oppressed cultures. In the late 1980s, she established in Paris to continue her musical evolution and be taken seriously as an artist. She then created something more profound than urban folklore. Throughout her collaborations with musicians from various genres, Luzmila Carpio skillfully weaved together indigenous sounds with modern instrumentation. She created a fusion that is both authentic and innovative, allowing her to appeal to a broader audience while maintaining the essence of her cultural heritage. This led her to win a Diapason d'Or in 2000, a  prestigious award of outstanding music recordings given by reviewers of Diapason magazine in France. In 2015, ZZK Records remixed her recently re-released UNICEF album from the 1990’s  Yuyay Jap'ina Tapes to create the album Luzmila Carpio Meets ZZK.  The album received critical acclaim and was described as "futuristic shamanism" by VICE and as "a condensation of tradition and futurism, of past and contemporary, organic sounds and digital rhythms" by RFI and both albums were listed in the top 10 Latin Albums of the Year by Rolling Stone Magazine.  In her recent compositions, Luzmila Carpio delves into themes that not only resonate with her indigenous heritage but also hold significance for younger generations. She explores the issues of cultural identity, empowerment of women in society, environmental preservation, and the importance of indigenous spirituality in a rapidly changing world. By fearlessly blending tradition with innovation and using her music as a means of social commentary, Carpio represents more than ever the avant-garde spirit within the indigenous music scene, pushing boundaries and breaking new grounds.