Petrona Martínez, an emblematic figure of bullerengue (a rare exclusively female “sung dance” in Colombia) shows here all her talent as a folklorist: improvisation, a universe of superstitions and legends, a chronicle of local life –and always Africa in the background.
During the religious festivals of St John and St Peter (24th and 29th of June), the pregnant women, concubines and unmarried mothers, who could not take part in the popular dances, used to gather on a patio to “clap hands and beat drums”.
1. Un Niño Que Llora En Los Montes De María (4:41)
2. Mariangola (4:36)
3. Cartagena De Indias (3:31)
4. Los Monos (2:59)
5. El Gavilán (4:11)
6. Guayaba (3:38)
7. Colombia Y Cuba (4:16)
8. Regino Torrez (4:36)
9. El Garabato (3:41)
10. La Cruz De Lata (4:16)
11. El Mochito De Puente (5:07)
12. Remolino De Oro (4:43)
13. Boby Me Van Matar (5:34)
14. Cantos De Velorio: El Canato, Lloro Yo, A Ro Ro (9:16)

During these evening parties, or bullerengue, sugar cane alcohol would be drunk and one woman would sing, improvising verses, whilst the others would respond in chorus. Between the songs, the women would tell each other riddles and saucy jokes. The dates and places for these meetings were communicated discreetly between the bullerengueras belonging to the same “sistership”.