Carlos Soto De La Colina crafted an Afro‑Peruvian classic that mixes dance, ritual, and stark imagery. The recurring chorus “toro mata, rumbambero, ay, toro, torito” drives the song’s pulse and frames a festive yet tense scene.
Lines such as “Toro viejo se murió” and the call‑and‑response phrases give the piece a cyclical blend of life, death, and communal voice. The text names places and characters—Jarama, Pititi, Acarí—which ground the story in both geography and folklore.
This long‑form page offers the original Spanish lines, a clear English rendering, and context for difficult, explicitly racist passages. We explain why those lines appear in tradition and how modern performers and listeners respond.
Read with care: the translation mirrors chorus and verse to help you compare rhythm and meaning, and we credit how many contemporary versions trace their roots to Soto’s arrangement and the performance of tania libertad.
Key Takeaways
- The chorus structure sets a festive yet ambivalent tone.
- Song blends bullring imagery and Afro‑Peruvian rhythms.
- Carlos Soto De La Colina is the credited songwriter.
- Translations follow the original order for comparison.
- We frame sensitive racial lines with historical context.
- Learn more background in this related piece: related analysis.
“Toro Mata” Lyrics in Spanish by Tania Libertad
The Spanish lyrics gather into a tight, repeating chorus and short, image-rich verses. Below are the canonical stanzas as they appear in many performances attributed to caitro soto.
Coro
“toro mata ahí, toro mata / Toro mata, rumbambero, ay, toro mata, toro, torito.”
Versos y hook
“Toro viejo se murió / Mañana comemos carne.”
“Soy el toro de Jarama / Levanto tierra en las astas / Y me da viento en el lomo.”
“La color no, no le permite / Hacer el quite a Pititi.”
Hook: “Ay, la pondé… ¿Quién trajo este negro aquí?… Ese negro no es de aquí… Ese negro es de Ocarí.”
Outro
“Hay que matar a ese negro… Ese negro es de Ocarí/Acarí.”
- Structure: A looping coro returns after each short verse, creating dance momentum.
- Vocabulary: The line that invokes permitehacer quite uses bullfighting language tied to a named figure, Pititi.
- Variants: Oral tradition produces minor shifts (Ocarí/Acarí; sacar/matar).
- Content note: Some lines contain racist language documented in the tradition; they are reproduced here for accuracy and context.
Toro Mata by Tania Libertad: English Translation
Here we present an English rendering that balances literal meaning with musical flow.
Chorus
“The reveller bull kills… Oh bull, little bull!”
Verses and Hook
Verse: “The old bull has died. Tomorrow we’ll eat some meat!”
Verse: “I’m the bull from Jarama. I lift dirt with my horns, and I pour it all over my back. I feel wind on my back.”
Verse: “His skin colour won’t, won’t allow Pititi to make the move” (permitehacer quite rendered as “make the move”).
Hook & Outro: Call‑and‑response lines are translated plainly: “Who brought this black man here? We must kill that black man.” The closing repeats “We must kill that black man… That man is from Acarí.”
- The chorus keeps the affectionate diminutive “little bull” while keeping the action clear.
- Repetition is preserved to show how tension grows with each return.
- Performance cues like “Ay, la pondé” act as call replies and keep rhythmic texture.
| Original | Literal render | Performance note |
|---|---|---|
| Chorus | The reveller bull kills… Oh bull, little bull | Retains refrain and dance pulse |
| Jarama verse | I lift dirt with my horns; wind on my back | First‑person boast, physical imagery |
| Permitehacer quite | Make the move / make the dodge | Bullfighting term kept clear |
Meaning, Origins, and Cultural Context: “toro mata,” bullfighting terms, and Afro‑Peruvian roots
This song mixes bullring images with fast, danceable rhythms that speak to communal memory. The refrain toro mata works as both a chant and a musical engine, driving dancers and callers through each return.
Bullfighting lexicon and the arena image
The lyric uses bullfight terms to give scenes technical color. For example, the phrase permitehacer quite points to a dodge or rescue move inside the ring.
That language turns the toro into an active presence, a force that tests bravado and skill in the story.
Afro‑Peruvian heritage and call‑and‑response
The label rumbambero and the shouted cue Ay, la pondé show how call‑and‑response holds the piece together. Percussion, voice, and clapping trade short phrases to build momentum.
At the same time, lines with racial slurs appear in older versions. Contemporary performers often address or alter those lines to respect listeners while keeping the song’s energy.
Credits, names, and rooted places
The composition is attributed to caitro soto, whose work anchors this repertoire in Afro‑Peruvian tradition. Names like Pititi, Jarama, and Acarí give the text local color and narrative shape.
“Ay, la pondé…”
| Term | Meaning | Why it matters |
|---|---|---|
| toro mata | Chanted refrain | Drives dance momentum and dramatic tension |
| permitehacer quite | Bullfighting dodge | Adds technical color and elevates Pititi’s role |
| Ay, la pondé / rumbambero | Call‑and‑response cues | Shows Afro‑Peruvian ensemble practice |
Keep listening and exploring this Afro‑Peruvian classic today
Listen for percussion, call‑and‑response, and the way repetition builds tension. Revisit the Coro, Versos, Hook, and Outro in both Spanish and English to hear how phrasing and tempo alter the song’s impact.
Tip: Compare studio and live takes to notice how interjections like “Ay, la pondé” change the feeling. Pay attention to bullfighting terms and onomatopoeia—they add technical color and drive the arrangement.
Build a short playlist of cajón‑driven festejo and landó tracks to place toro mata in context. For deeper reading, see this related analysis and return here anytime for lyrics, translation, and cultural notes before you press play again.
FAQ
What is the main theme of "The Meaning Behind The Song: Toro Mata by Tania Libertad"?
The song explores Afro‑Peruvian musical tradition and uses bullfighting imagery to tell a layered story. It mixes Caribbean rhythms with Andean influences and addresses identity through call‑and‑response lines rooted in community performance.
Where can I find the original Spanish lyrics listed in the section ““Toro Mata” Lyrics in Spanish by Tania Libertad”?
The section reproduces key lines like the chorus, verses, hook, and outro as performed on recordings by the artist. For full lyrics, consult licensed lyric websites or the album liner notes to respect copyright.
Why are some lines in the Spanish lyrics provocative or offensive?
The lyrics reflect historical language and social attitudes from certain coastal Peruvian communities. They include confrontational phrasing that modern listeners may find troubling; understanding the cultural and historical context helps explain, though not excuse, those elements.
Is there an English translation of the song available in the section "Toro Mata by Tania Libertad: English Translation"?
Yes. That section gives a straightforward translation of the chorus, verses, hook, and outro to help non‑Spanish speakers follow the narrative and understand the song’s imagery and themes.
How literal is the English translation provided?
The translation aims to be faithful to the original meaning while keeping lyrical sense. Some idioms and cultural references are simplified so readers unfamiliar with local terms can grasp the song’s message.
What does "hacer el quite" mean in the bullfighting lexicon mentioned in the "Meaning, Origins, and Cultural Context" section?
“Hacer el quite” is a bullfighting term meaning to dodge or distract the bull, often used metaphorically to describe avoiding danger or stepping in to protect someone during a confrontation.
Who is Carlos "Caitro" Soto de la Colina and what is his connection to the song?
Carlos “Caitro” Soto de la Colina was an important Peruvian musician and scholar who helped preserve Afro‑Peruvian music. The credits note his role in popularizing traditional songs and related arrangements tied to this repertoire.
What is "la pondé" and how does it function in the song?
“La pondé” refers to a rhythmic call‑and‑response phrase used in coastal Peruvian music. In the track, it encourages group participation and reinforces the song’s communal roots.
How does the song engage with Afro‑Peruvian heritage?
It uses rhythms, percussion, and vocal styles from Afro‑Peruvian traditions. The lyrics and performance preserve storytelling practices and musical forms that reflect the history and resilience of Black Peruvians.
Are place names like Jarama and Acarí important to understanding the song?
Yes. Names like Jarama and Acarí evoke regional identities and local stories. They anchor the song in a geographic and cultural landscape familiar to listeners from those areas.
Should modern performers alter or contextualize problematic lines when presenting this song today?
Many contemporary artists choose to provide context, adapt lyrics, or include statements when performing historically sensitive material. That approach respects both the artistic heritage and current social norms.
Where can I hear recommended recordings of this classic?
Look for reputable streaming platforms, official artist releases, and anthology collections of Afro‑Peruvian music. Liner notes and credits on those releases often mention arrangers and traditional sources like Caitro Soto.
