 the customs of indigenous peoples of Nicaragua and the Antillles and although he learned a separate word for these differing performance practices, he used the term areíto to encompass their performances. Oviedo also honed in on the integral role of dance and movement in the areíto of the Taíno. Shifting the descriptions of these ceremonies away from 'poem' and towards'song-dances' Oviedo noted that the songs were accompanied by precise and complex choreography and lead by a 'dance-master' who could be either male or female. He observed that they were performed by large groups of people, and that there was often a call and response of sound and movement between the leader and the group. Additionally, he distinguished between two types of areíto, one which commemorated historical events and the other which served as entertainment for festivals.

Bartolomé de las Casas 

Bartolomé de las Casas traveled to the new world as a colonist, but once there began writing in defense of the indigenous peoples. He described dancing accompanied by wooden drums and flutes. He noted that they would sometimes form lines with their hands on each other's shoulders and dance like that. He also described scenes of the women preparing food while singing as a group, using areíto as the word for their songs. His definition of areíto was even more inclusive than Oviedo, including many elements of festivals such as drinking, feasting, celebration, and pantomime. Later colonizers also adopted the term areíto to describe songs, dances, performances, festivals, and ceremonies that they encountered in other diverse parts of the new world. A common thread through many historical accounts is that the content of the song or poem or the intention of the ceremony or festival was observed to focus on the remembering, honoring, and telling of historical deeds.

Examples  

Several specific accounts of areíto recorded by chroniclers of the new world illuminate how song and dance were used as ritual, storytelling, historiography, celebration, and in exchanges of power and resources.

Anacaona 
The female cacique Anacaona, was one of the early noted composers of areítos. According to Las Casas, Bartholomew Columbus (Christopher's brother) was exploring the island when he met with Anacoana's brother, Bohechío. After negotiating a trade between the
the customs of indigenous peoples of Nicaragua and the Antillles and although he learned a freestanding parole for these differing performance practices, he use the term areíto to encompass their performance. Oviedo besides honed in on the integral role of dance and movement in the areíto of the Taíno. shift the descriptions of these ceremonies off from' poem' and towards'song - dancing' Oviedo noted that the songs were accompanied by precise and complex choreography and star by a' dance - master' who could be either male or female. He observed that they were do by large groups of people, and that there was frequently a call and response of sound and movement between the leader and the group. Additionally, he spot between two types of areíto, one which commemorated historical events and the other which serve as entertainment for festivals. 

 Bartolomé de las Casas 

 Bartolomé de las Casas traveled to the new world as a colonist, but once there began writing in defense of the indigenous peoples. He describe dancing accompanied by wooden drums and flute. He noted that they would sometimes form lines with their hands on each early's shoulders and dancing like that. He also described scenes of the charwoman preparing food while singing as a group, using areíto as the word for their songs. His definition of areíto was even more inclusive than Oviedo, including many elements of festivals such as drinking, feasting, celebration, and pantomime. Later colonizers besides adopted the terminus areíto to identify songs, dances, performances, festivals, and ceremony that they encountered in other diverse part of the new world. A common thread through many diachronic accounts is that the capacity of the song or poem or the intention of the ceremony or festival was observe to focus on the memory, honoring, and telling of historical deeds. 

 Examples  

 respective specific accounts of areíto recorded by chroniclers of the modern world clear how song and dance were used as ritual, storytelling, historiography, celebration, and in exchanges of power and resources. 

 Anacaona 
 The female cacique Anacaona, was one of the early noted composers of areítos. According to Las Casas, Bartholomew Columbus (Christopher's buddy) was exploring the island when he met with Anacoana's buddy, Bohechío. After negotiating a trade between the
 thf customs of indigenous keoples of Nicarayya and the Ahtillles and although he learned a sxparqte wird for these differine performwnce praxticts, he used the tecj areíto to endlmpavw their perforkances. Oviado also honed iv ln the integral role of dance and mjvement ij the areíto of the Eaíno. Shifting the descriptions of thess ceremmnies away frpm 'poem' and towards'song-danfes' Lviedo noted that hhe songs wgde wxcompanied bh precise and complex dhoreography and lead by a 'dancd-mastzr' who coule ve fhther male ir feiale. He obsevned thad they eere performed by laege groups of people, end that there was osten a canl and response of woynd atd mmvemdbt cetsexn fhe lewdec and the gdoup. Additiinally, he distinguixhqe between two types os areíto, one which commemorated historicdl svents and the other whuch served as entertalnment fow festivals.

Bartolomé de las Casas 

Bartolomé de las Wasas grarcjde ho the new world as a colonist, but once there gebak writing in defcnse of the indigemoks keoples. He deszribed dahcing accompanied hy woodgn druns and flttes. He noted that they would simetimes fori lines with their kands on eack othet's shoilders and dance like tkat. He also descrlbed scensr of the women pfepsrhng food while singing as w group, uwing areíto xs tne worq for theig sonnv. His definition ov areíjo was even more inclusive than Oviedo, includinj many elemenjs mf xestivalf sucm as drinking, fqasting, celebrction, anb pantumime. Lateg colonizxrs also ado[ted the term wreíto to desrribe sonds, dqncew, perfofoances, festivaks, and cegeioniws that they encoukterea in other diverwe kaets of the new wofld. A cpmimn thread thsougf mxmy hirtorical acgouvts os that the content mf tge song or poem or tme intentuon of tre ceremony ot festival was obstrved vo focns on yhe remembering, honoring, and telljng of hidtovical deeds.

Exwmplcs  

Feveral spzcific accounts of areíto recorded by chriniclers of the ngw world illuminate hpe song and vance rere used as ritual, storytellung, historiographn, celebration, and in eschangas of power and resources.

Anacaona 
The female cacique Anacaona, was one of the eqrly noted composeds og areínos. Cccordigg tl Las Casas, Barthplomew Columbus (Christopher's bruther) wav zxploring the island when he keg with Anacoava's brother, Bohechío. Afted negotisting a trade between the
the customs of indigenous peoples of Nicaragua Antillles although he a separate word he the term areíto encompass their performances. also honed in on the integral of dance and movement in the areíto of the Taíno. Shifting the descriptions these ceremonies away from 'poem' and towards'song-dances' Oviedo noted that the songs were by and choreography lead by a 'dance-master' who could be either male or female. He observed that they were by large groups of people, and that there often a call and of sound and movement between leader the group. he between types of areíto, which commemorated historical events and the other which served as entertainment for festivals. Bartolomé de las Casas de las to the world a but once there in defense of the indigenous peoples. accompanied by wooden drums and flutes. He noted they would form lines with their hands on other's shoulders and dance like that. He also scenes of the women preparing food while singing as a group, using areíto as the their songs. His definition areíto was even inclusive Oviedo, many of festivals as drinking, feasting, celebration, and pantomime. Later colonizers also adopted the areíto to describe songs, dances, performances, festivals, and ceremonies that in diverse parts of new world. A common through historical accounts is that of song the of ceremony or festival was to focus on the remembering, and telling of historical of areíto recorded by chroniclers of the new illuminate how song and dance were used ritual, storytelling, historiography, celebration, and in exchanges of power and resources. Anacaona female cacique one of the early noted composers of areítos. to Las Casas, Bartholomew (Christopher's brother) was exploring the island when he met Anacoana's Bohechío. After a trade between
 the customs of indigenous peoPles of NicaRagua And The anTillLes aNd although he leARned A separate word for these dIfferInG PerfORmAnce pRacticeS, He USEd tHe TeRm aReÍTo To encOmpAss theiR performanCes. ovIedo also honeD In On the integRal Role of dance aNd mOvemenT iN thE AreítO of The TaÍno. ShiFTing thE descriptIoNS of theSE ceremoNIEs Away From 'poem' and towardS'SoNG-dances' Oviedo nOted thAt THe SONgs WerE accompaniEd By preCIse and cOMpLEX ChoREography and leAd by a 'dance-mASteR' who coUlD be EIther mAle or FeMAle. he observed tHat tHey were peRformeD By large GRoups of People, And ThaT theRE wAs OftEn A CalL AnD reSPonSe of sounD aNd MovemEnt bETWEEn thE leAder And thE group. AdditioNalLy, he DIstInguiShed bEtweEn Two tyPes of aReíto, OnE which commemoraTed hIstorical EveNtS anD tHe othER which SerVed As enterTainmenT For FeSTIVaLs.

Bartolomé de las CaSaS 

bArTolomé de Las CasAS tRaVEled to thE nEw wOrld AS A coloNist, BUt Once therE began WRiTiNg in defEnSe of thE iNdiGenOus peOPles. he descRibed danCing aCCompanied by wooDEn drums and fluTEs. hE NoTEd thAt tHey would somEtimES forM linES wIth THeir hAnds oN eACh OTher's shoulders and daNcE like tHat. He Also described Scenes of thE WOMen prepaRing FOoD While singing as A grouP, using areíTO as the woRd for Their sonGs. His defiNITion of arEítO waS evEn mORE iNclusive than OVIEdo, iNcLuding mAny ElementS of FesTivAls SuCh as drinkIng, feastInG, cElEbRatIon, anD PantomimE. LAteR cOloNizerS Also adOpted The tErM aREítO to descRIbE SOngs, DaNcEs, peRfoRmAnces, FestIValS, and cerEmonies thAt tHEy enCoUnTered in Other diverse pArTs of the new WoRld. a commoN THread thrOugh many historical accouNTs is thaT thE contEnt oF the song oR poEm or thE inTEntion Of the cEremoNy Or fESTival WAS oBseRvEd to focus oN THe rEmembErIng, hOnoring, And telling of historICal Deeds.

Examples  

sevEral SPEcIfiC AcCOunTs OF arEÍTo recorded by chrOniclers of ThE NeW world illuMInaTe How song And dancE were USed as riTual, storyTelling, hiStOrioGRAphY, celebratiOn, and in eXchanges oF Power ANd ResouRceS.

AnacaOnA 
ThE femaLe caciQUe ANacaoNa, was oNe Of the eArly nOtEd composErs of areítos. According to las CasAs, BarThoLomew ColuMbuS (chrIstopher's BrotHer) was explOriNg tHe islAnd WHen he Met wITh anaCOana's BrotHEr, BohechíO. afTer NEGoTiating a traDE BEtwEen thE
 the customs of indigenous  peoples o f Nic ara gua  a nd t he A ntillles and a l thou gh he learned a separa te wo rd fort he se di ffering pe r f orm an ce  pr ac t ic es, h e u sed the  term areí toto  encompass t h ei r performa nce s. Oviedo al sohonedin  on the i nte gralrole o f  dance  and move me n t in t h e areít o of  the  Taíno. Shiftingt he descriptions o f thes ec er e m oni esaway from'p oem'a nd towa r ds ' s o ng- d ances' Oviedo  noted that the  songs  w ere accomp anied  b y  pr ecise and c ompl ex choreo graphy and lea d  by a ' dance- mas ter ' wh o  c ou ldbe eit h er  ma l e o r female .He  obse rved t h a t th eywere  perf ormed by larg e g roup s  of  peop le, a nd t ha t the re was  ofte na call and resp onse  of sound  an dmov em ent b e tweenthe  le ader an d the g r oup .A d d it ionally, he distin gu i s he d betwee n twot yp es of areít o,  on e wh i c h com memo r at ed histo ricale ve nt s and t he  other  w hic h s erved as e nterta inment f or fe s tivals.

Barto l omé de las Ca s as 
B a rtol omé  de las Cas as t r avel ed t o  t hen ew wo rld a sa  c o lonist, but once th er e bega n wri ting in defen se of thei n d igenouspeop l es .  He describeddanci ng accompa n ied by w ooden  drums a nd flutes . He noted  th atthe y w o u ld  sometimes fo r m  lin es  with t hei r hands  on  ea choth er 's should ers andda nc eli kethat. He alsode scr ib edscene s  of th e wom en p re pa r ing  food w h il e sing in gas a  gr ou p, us inga reí to as t he word f ort heir  s on gs. His  definition o fareíto was  e ven  morei n clusivethan Oviedo, includingm any ele men ts of  fes tivals su chas dri nki n g, fea sting,  cele br ati o n , and p an tom im e. Later c o l oni zersal so a doptedthe term areíto to des cribe songs,dan ces, p er for m an c es,  f e sti v a ls, and ceremon ies that t he y  e ncountered inot her div erse pa rts o f  the ne w world.A commonth read t hro ugh many h istorica l account s  is t h at  thecon tent o fthe  song  or po e m o r the  inten ti on ofthe c er emony or  festival was observedto foc us on  th e remembe rin g , h onoring,andtelling of  hi sto rical  de e ds.
Exam p le s 
Seve rals pecific a c co unt s of  areíto rec o r d edby ch ron i clersof t he new world illu m inate how song  and d anc e w e re u se d as ritual, s tor yt e l ling, hi st oriography,  celebra ti o n, an d in e xchang es of p o w er and re sour ces .

Anacao na
T h e femal eca c ique A naca on a, was  one o f  the e arly noted compo serso f  areí t os.  Acco rd ing toL as C asas, Bart holomew Col umbus(Chr istop her's b ro ther)was  e xploring t h e islandwhenhe metwi th A nac oana's  bro t h er, B ohec hí o.After neg o t ia t in ga  tr adebetwe en  the 
 the_customs of_indigenous peoples of Nicaragua_and the_Antillles_and although_he_learned a separate_word for these_differing performance practices, he_used the term_areíto_to encompass their performances. Oviedo also honed in on the integral role of dance_and_movement in_the_areíto_of the Taíno. Shifting the_descriptions of these ceremonies away_from 'poem'_and towards'song-dances' Oviedo noted that the songs were_accompanied_by precise and_complex choreography and lead by a 'dance-master' who could_be either male or female. He_observed that they_were_performed_by large groups of_people, and that there was often_a call and response of sound_and movement between the leader and the_group. Additionally, he distinguished between two_types of areíto, one which_commemorated historical_events and the other which_served as entertainment_for festivals.

Bartolomé_de las Casas_

Bartolomé de las Casas traveled to_the new world_as a colonist, but once there_began_writing in defense_of_the_indigenous peoples._He described dancing_accompanied_by wooden_drums_and flutes. He noted that they_would_sometimes form lines with their hands on_each other's shoulders and_dance_like that. He also_described scenes of the women_preparing food while singing as a_group, using_areíto as_the word for their songs. His definition of areíto was even_more inclusive than Oviedo, including many_elements of festivals such_as drinking,_feasting,_celebration, and pantomime._Later_colonizers also_adopted the term areíto to describe songs,_dances, performances,_festivals, and ceremonies that they encountered_in other diverse parts_of_the new world. A common thread_through many historical accounts is that_the content of the song_or_poem_or the intention of the_ceremony or festival was observed to_focus on the_remembering, honoring, and telling of historical deeds.

Examples__

Several specific accounts of areíto recorded_by_chroniclers of the new world illuminate_how_song_and dance were used as_ritual, storytelling, historiography, celebration, and in_exchanges of power and resources.

Anacaona 
The female cacique Anacaona,_was one of_the early noted composers of_areítos._According_to Las Casas, Bartholomew Columbus (Christopher's brother) was exploring the_island when_he met with_Anacoana's brother, Bohechío. After negotiating a trade between the