jibaro

Ji·ba·ro

 (hē′bə-rō′)
n. pl. Jibaro or Ji·ba·ros
1. A member of a South American Indian people of eastern Ecuador and northeast Peru.
2. The language of the Jibaro, of no known linguistic affiliation. In both senses also called Shuar.

[American Spanish Jíbaro, from earlier Xívaro, from Jibaro shuar, indigenous people.]

ji·ba·ro

 (hē′vä-rō′)
n. pl. ji·ba·ros
1. A rural inhabitant of Puerto Rico.
2. The country music of Puerto Rico.

[Puerto Rican Spanish jíbaro, from American Spanish jíbaro, member of the Jibaro people of South America (noted for their resistance to colonial rule); see Jibaro.]
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References in periodicals archive ?
El caracter pendenciero del jibaro sale tambien a relucir en la escena XI, "La fiesta del Utuao".
But--more importantly for the development of my own vocal style and musical taste--I also remember them playing seises, aguinaldos, and trullas while my grandmother Carmen and my great-uncle Quique sang with their beautiful, nasal, jibaro voices.
So he moved to Morovis to get back to his jibaro roots?
Revolutionary culture, culture of our people, in the only true teaching, JIBARO SI, YANQUI NO
This appears as a consequence of the limited economic resources that deprive "al jibaro de adecuada nutricion y abrigo; la ignorancia limita la vision de su vida; el vicio y el relajamiento de los principios morales, lo degeneran" (Colon 51).
71) Consider the Puerto Rican rhapsodizing of the jibaro figure, or comedic tales of Juan Bobo (a synonym for fool), the cinematic portrayals by the Mexican icon Cantinflas, or even the retelling of Juan Diego's confrontation of episcopal authority.
Guzman's story shows that, as Arlene Torres would say, "el jibaro ej prieto de belda" or the jibaro is really black and not white as everyone claims.
He also states that the theme of humour and its derivatives have been a constant in Puerto Rican literature since the publication of Manuel Zeno Gandia's El Jibaro (1849).
Manuel Alonso, in his often cited descriptions of Puerto Rican dances from his El gibaro (Barcelona: Juan Oliveres, 1849; reprint, El Jibaro [Rio Piedras, Puerto Rico: Ediciones Huracan, 2001]), chooses not to include dances of African origin, stating that "The dances of the blacks of Africa and of the natives of Curacao do not merit inclusion here; although they are seen in Puerto Rico they have never become widespread" (p.
Historia de los hermanos Cheos (Ponce, Puerto Rico, 1979), the best known of the two accounts dealing with jibaro religiosity at the turn of the century written by priests.
I believe that there are few adult jibaro men who have not memorized one or more decimas, which they sing, when called upon in turn, at social gatherings; and nearly every little country hamlet has its noted decima singer, who has dozens of them at his tongue's end.