pander

In many of these countries, when the frame has pairs of small metal jingles, it is called pandereta; in some countries the terms pandero and pandereta are used interchangeably. The instrument is especially associated with the Basque Country, where it forms part of the traditional musical heritage of the region.

• Name — Pandero • Classification — Percussion Membranophone • Related — Pandereta, Pandeiro, Pandero jarocho

The pandero consists of one or two superimposed wooden hoops between 20 and 40 centimeters in diameter and between one and five centimeters wide. These hoops are usually fitted with one or two rows of about half a dozen pairs of txindak (small circular metal plates). Unlike the pandereta, the pandero does not have rattles or jingle bells and is generally larger in size. One side of the hoop is fitted with a stretched, smooth leather membrane.

The pandero has been used since ancient times, particularly in the Basque-speaking world, where dances accompanied by the instrument continue to this day. In some foreign regions, the instrument is known as tambour de basque. The earliest known records of the pandero's use in Spain date to the 16th century. According to Padre Donostia (1952), a 16th-century account describes how King Charles IX, during a visit to Saint-Jean-de-Luz, enjoyed watching young women dance, each carrying a sieve fitted with cowbells in imitation of small drums. A 17th-century account relates that upon the arrival of Madame d'Aulnoy at Pasaia, a boatwoman came to meet her with fifty companions, each carrying an oar on her shoulder, with three women at the head of the procession playing the pandereta with great skill. An article by Jesús Ramos (1990) notes that a list of musicians who participated in the festivities of Pamplona in the 18th century recorded nine pandero players, eight performing solo and one accompanying a guitar; six were from Pamplona, two from Aoiz, and one from Laguardia. In the 19th century, the book Viaje por España (1862) by Baron Charles Davillier noted that the Basques danced to the pandero alongside the gaita, the tabor, and the flute, much as the Asturians and Galicians did. Padre Donostia also recorded in 1916 that in the Erregiñetan (Feast of the Mayas), companions sang to the rhythm of a pandero.

The pandero is mentioned in several passages of both the Old and New Testaments, where its use is commonly associated with music, celebration, and worship. Notable passages include: • Exodus 15:20: Miriam the prophetess took a pandero in her hand, and all the women followed her with panderos and dancing, celebrating the crossing of the Red Sea. • Psalm 149:3: "Praise his name with dancing; sing to him with pandero and harp." • Psalm 150:4: "Praise him with pandero and dancing; praise him with strings and flute." • Jeremiah 31:4: The restoration of Israel is described in terms of joy and celebration, with the use of panderos and dancing.

The pandero may be played alongside singing and a variety of other instruments. Since the 19th century, it has traditionally been paired with the trikitixa, a small diatonic button accordion. The two instruments are so closely associated that it is rare to see a trikitixa player without a pandero partner to mark the rhythm. A late-19th-century image from Biscay depicts the pandero accompanying a txistulari (without a tabor) at a wedding, leading a procession of carts. The pandero is also played alongside string and wind instruments such as guitars, lutes, bandurrias, flutes, and clarinets, and occasionally accompanies the violin and the dulzaina.

• Illustration — Pandeireta from Galicia (Spain) • Illustration — Player of Chilean pandero cuequero