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2 About this guide Back Latino Cultural Guide Latino Cultural Guide Next About this guide 3
F iesta DC's 2008 Cultural Guide is a compila- On behalf of the Mayor of the District of Columbia, I would like to congratulate the
tion of the rich cultural contributions of our staff and board of directors of Fiesta DC for compiling the first ever Latino Cultural
Latino artists in the Washington, D.C. metropoli-
tan region, including additional groups from the Guide for Washington, DC.
English-speaking Caribbean and from Spain. In so doing, the Guide becomes
a cornerstone in support of Fiesta DC's mission, "To contribute to the preserva-
tion, diffusion and promotion of Latino culture in the Washington metropolitan The Office on Latino Affairs (OLA) has long partnered with and supported Fiesta
area, as well as to enhance, promote and assist the artistic cultural expressions DC’s mission to contribute to the preservation, diffusion, and promotion of Latino
of the Latino community residing in Washington, D.C."
culture in Washington, DC. Fiesta DC’s commitment to this mission has never been
The Guide also serves to connect potential clients with the featured artists. It
will come to play an important role in our local history as a snapshot in time that more evident than through what we witness today in this complete, first of its kind,
documents the multi-cultural tapestry of our family of artists, whose dedication guide highlighting the artistic contributions of over 150 groups and individual
and talent have enriched our lives.
I extend my sincerest gratitude to the Mayor of Washington, Adrian Fenty, performers located throughout our city and metropolitan area. Never before have
who has been an unwavering supporter of Fiesta DC's numerous year-round these performers been presented in such a comprehensive and accessible manner.
programs. I would also like to convey special thanks and recognition to our
key partners, Mercedes Lemp, Director of the Mayor's Office of Latino Affairs, It’s our hope that this guide will help residents and visitors alike enhance and enrich
George Escobar, Deputy Director, Ward 1 D.C. Council Member Jim Graham, their understanding of the rich cultural heritage brought to our city by the vibrant,
and D.C. Council Member at Large Kwame Brown. Without their support this
guide would not have become a reality. diverse and ever growing Latino community residing here in Washington, DC.
I want to thank Alfonso Aguilar, the Executive Director of Fiesta DC, who
spearheaded this important project, and his staff and the consultants and con-
Please enjoy this wonderful guide!
tractors of Fiesta DC. To our Board of Directors: thank you for providing the
vision and leadership to ensure that Fiesta DC fulfills its mission (Roland Roe-
buck, Vice Chair; Leda Hernández, Treasurer; Elizabeth Schrader, Secretary; Saludos!
and Directors Ted Loza, Nitza Seguí, Pedro Avilés, and Ingrid Gutiérrez.)
To our public: we hope that you enjoy the Cultural Guide as a true reflection
of the deep cultural roots of our proud community and as a bridge of cross-
cultural understanding. Our goal is that you, our readers, will use this guide as a
means to support and promote our local artists!
Mercedes Lemp
Director
2000 14th Street, NW, 2nd Floor, Washington, DC, 20009 - Telephone (202) 671-2825 - Fax (202) 673-4557
O L A .D C .G O
V
Fiesta DC’s Fiesta DC’s
8 Letters Back Latino Cultural Guide Latino Cultural Guide Next Letters 9
Jim Graham
Councilmember
Ward 1
Fiesta DC’s Fiesta DC’s
10 Letters Back Latino Cultural Guide Latino Cultural Guide Next Letters 11
August 7, 2008
Congratulations on publishing the first edition of the Latino Cultural Guide. LEDC is Dear Friends:
very proud to support this effort. As the D.C. area’s premier economic development
corporation working to improve the capacity of the Latino community to build wealth, we
are thrilled at how this guide showcases the many artistic talents of our community. When we think about the Latino community, the first thing that comes to mind is its
culture and traditions. The Washington, DC metropolitan region is fortunate to
experience the international confluence that makes it one of the most dynamic regions of
The Latino Cultural Guide is an excellent tool to introduce the broader community to the country.
hundreds of talented Latino artists, actors, and musicians. We hope that it will help them
market to the non-Latino community and strengthen the ties that bind all of us as This new publication, “The Latino Cultural Guide”, by Fiesta DC aims to extol the talents
Washingtonians. and creativity of the Latino community. As President & CEO of the Greater Washington
Hispanic Chamber of Commerce, I consider this our newest tool to boost the economic
Thank you for all your hard work and commitment to the Latino community. development of the community at large.
The Latino Cultural Guide has two purposes: First, to introduce all residents and visitors
Saludos,
to the richness of Latino talent in the region and, second, to direct our efforts in
supporting those included in the publication.
Sincerely,
History and Acknowledgements our Latino artists and their non-Latino colleagues who enrich our culture.
In these pages you will discover talented musicians who have shared the stage
Alfonso Aguilar with international figures in a variety of musical genres. You will learn of dance
Executive Editor of the Guide groups and instructors with numerous presentations in countries from Argentina
to Mexico to Germany to Japan. And you will also enjoy a tour of two existing
We bring to mind these recollections of our cultural past with the hope that one
day there will be time and resources to analyze and document the artists and groups
which gave form and substance to our community’s artistic expressions from 1970
to 2000.
For now, Fiesta DC and its research team for the Cultural Guide take pleasure in pre-
Above: A collection of recordings by local Latino artists
senting this first effort to document, in a single publication, the work of, and to promote, exhibited in 1997 at Centro de Arte de Washington.
Fiesta DC’s Fiesta DC’s
14 Introductions Back Latino Cultural Guide Latino Cultural Guide Next Introductions 15
I t would take a book to cover adequately the scope of Latin American cultural tra-
ditions. Geography has served to separate and to give a distinct sound to regions
defined by mountains and valleys, rain forests, great plains, and coasts. History and
shells. A great many forms exist within the general category of Andean music, extend-
ing from northern Chile and Argentina through Bolivia, Peru, and Ecuador into Colom-
bia and Venezuela.
demography also have come into play: Latin American culture shows influences
from hundreds of original American as well as African tribal and language groups, The Caribbean
and from an assortment of European national and intra-national cultures. The Caribbean has produced a variety of rhythms that, perhaps because of the re-
Spain brought different languages and cultures besides those of the Castilians, gion’s nearness to the U.S., became well known here, even turning into popular fads.
including those of the Celts in northwest Galicia and Asturias, the Basques in the Cuba and the Dominican Republic, small island nations, have generated a dispropor-
mountainous north, the Catalans on the upper Mediterranean coast, and the Roma tionate share of the Latin American music familiar to U.S. Americans, such as meren-
(gypsies), not to mention the results of 800 years of occupation by the North African gue, cha-cha, conga, rumba, bolero, and, more recently, bachata. Mexico and Puerto
Moors, especially in the southern province of Andalusia, named after the Arabic Rico adopted the bolero and contributed greatly to its development, while Mexico did
Al-Andalus. likewise with the Cuban danzón.
Colonial-era African slaves came from regions such as present-day Guinea, Gha-
na, Benin, Nigeria and Cameroon, down to Congo and Angola. The greatest Native Salsa
American civilizations arose in the Andes, where the Incas became the dominant Cuba in particular has had a long history of musical interchange with the U.S., be-
empire; and in Mesoamerica, the region comprising today’s Mexico and Central ginning in New Orleans at the very birth of jazz, of which it was part. Later on, island
America, where the Olmec gave way to the Maya and the Toltec and finally the greats like Machito, Mario Bauza, and Arsenio Rodríguez brought Afro-Cuban rhythms
Aztec as successive dominant civilizations before the Spanish arrived. Brazil adds to New York, giving rise to Latin jazz. The break in relations between the two coun-
a combination of Portuguese and African, as well as sounds from an Amazonia that tries in the 1960s isolated the Cuban sound from the U.S. The son, the heart of Cuban
is shared by the nations that surround Brazil. Portuguese fadó and a touch of jazz popular music, then evolved in New York, the eternal Iron Babel, into salsa, blending
blended with Brazilian samba, famous at carnival time, into the now equally-famous with Puerto Rican bomba and plena and rhythms from Panama and Colombia as well
bossa nova. as from the local jazz scene. The resulting sound was taken up enthusiastically around
the Caribbean and then elsewhere. The Dominican merengue (also from Haiti), guar-
Similarities and Coincidences anteed to get people up and dancing, does not fit into the family tree of son/salsa, but
The plains of Argentina and Uruguay, like the plains where Colombia and Ven- it was unavoidably present in a city with a growing Dominican population, and it was
ezuela meet, are a region of open spaces and distant horizons, cattle, and asados played alongside salsa by the same bands. Today’s Latin dance bands and orchestras
(outdoor grills), home to the self-reliant gaucho and llanero, respectively. Argentina play mainly salsa and merengue.
and Uruguay compete for the championship in tango, which sounds the same in both
countries. There is no difference between the Colombian and the Venezuelan music Colombia
of the plains, defined on both sides by the joropo and its variants. Colombia, too, has been a musical powerhouse. Among its very many styles, two
The original zamacueca became the cueca in Chile and Bolivia, the marinera in have stood out in the US: the slow and sinuous cumbia and the faster vallenato, or
Peru, with a more distinct African influence, and the melancholic zamba in Argen- born-in-the-valley, so called because of its origin in Valledupar (Valley of Upar), where
tina (which is nothing like the Brazilian samba). the northern Andes point to the Caribbean Sea. Vallenato was built originally around
The harp appears, in hopscotch fashion, in Mexico’s Gulf coast, the Colombian- an accordion player/singer, a caja or drum, and a scraper (guacaracha), but now has
Venezuelan plains, Paraguay, and high in the Andes. expanded to a fuller format. The cumbia, originally in a simple format of drums and
Peruvians and Bolivians may claim for themselves the origin of established An- hand percussion, later adopted the native wooden flutes (gaitas) and subsequently, like
dean genres like the huayno, but people from both countries also point out that it vallenato, a larger format. It expanded to Central and South America, especially to El
does not matter much, as that music developed long before the current national bor- Salvador and to Ecuador and Peru, in local versions called cumbia and cumbión, whose
ders were set, and spans both countries. roots are evident but with less of the coastal-African cadence of the original.
Fiesta DC’s Fiesta DC’s
16 Introductions Back Latino Cultural Guide Latino Cultural Guide Next Introductions 17
Mexico and Central America as those played in abakwa ceremonies, the hourglass-shaped batá drums, and, on
Farther north on the continent, Mexico dominates the sounds of Central America. the eastern end of the island, drums that first came from Haiti, made in sets. The
Mexican corridos and rancheras, and songs from the northern states, norteñas, are Dominican tambora, a small two-sided drum played horizontally with one hand
also favorites in the rural areas of many other countries in the region, including the and a striker, is at the heart of the merengue; the Puerto Rican plena uses a set of
Caribbean. The mariachis, characterized by violins and trumpets in combination three tuned hand drums, the pleneras. Venezuelans celebrate San Juan Day with
with unique Mexican guitars, are said to derive from string ensembles that during very long drums, the minas (also from the Congo), placed on supports parallel to
the French occupation entertained at marriages, a word with the same meaning in the ground, over which the players stand, and with other, smaller, drums.
French as in English. Mexico is best known for the son of Jalisco, and also the The traditional cumbia makes use of specific drums: the alegre, or lead hand
son of Veracruz (birthplace of the original La Bamba). Along the U.S. border, the drum, the llamador, a smaller hand drum, and the tambora, a double-skinned bass
traditional norteña (northern) small ensemble typically includes a 12-string guitar, drum played with drumsticks. In the currulao, one musician plays a drum known
snare drum, and accordion. Across the southern border, in Guatemala, the national as a cununo, striking the drumskin with one hand and tapping the side of the drum
instrument is the marimba. Its tuned wooden staves, struck with mallets, produce a with a small stick, while a second musician keeps time on a shaker known as a
gentle sound that today typifies Guatemalan music. Salvadorans have brought to the guasá or guache, a hollow cylinder made of metal, wood, or guadua bamboo, filled
US not just their version of norteñas and cumbia, but also of merengue and, more with light seeds and sometimes rice. Other musicians play a syncopated melody
recently, Dominican bachata, a modern favorite. on paired marimbas, one in the lower register and one in the high register.
A Brazilian batucada or parade percussion group, an assault on the senses, re-
quires a small store’s worth of drums of varying sizes, from small hand drums to
Small Guitars large cylinders hung from the shoulders. For sambas there is also the cuica, the
Every region has its own version of small guitars. The Puerto Rican cuatro is small drum that makes a squeaking sound when a rod attached to the inside of the
emblematic of the island’s identity; similarly, the Cuban tres, although there is also drum’s skin is rubbed.
a Cuban cuatro. That one is different from the Puerto Rican version, which sounds The snare drum—like the tambourine, very much an import from Europe—is
much more like the pear-shaped Cuban laúd. Venezuela, too, has a cuatro, also rep- used in norteñas in Mexico and with other percussion in Brazil. In the Andes and
resentative of the nation, but it is smaller than the island cuatros, with nylon rather northern Argentina, the deep-voiced bombo rules. It’s made from wood, with goat
than steel strings. It is played also in parts of Colombia, as is the related bandola, or a similar skin still with the fur on it. Its position, hung from the shoulders and
which comes in different flavors. Beyond the cuatro, Venezuelans have taken the to the side, may indicate an adaptation from European military drums, which of
time to develop the cinco, cinco y medio, and seis. Colombia, for its part, is known necessity were to be played while in motion.
for the tiple, a kind of small 12-string guitar. There is a tiple in Chile, too.
Mexico’s son jarocho, from Veracruz, uses the small four-string jarana and re- Parade Contingents
quinto. But different requintos, which look like standard six-string guitars but Folk expressions are common at festivals like Fiesta DC’s own annual Latin
smaller, are widespread throughout the continent. Mariachis use the vihuela, with a American Festival. The highlight at many festivals is the parade of comparsas, or
back that protrudes sharply, and its king-size cousin, the guitarrón, a bass guitar held groups that combine music and traditional dances with costumes that match the
horizontally in front of the performer. theme or story of each comparsa. The roots of these are found partly in ancient
Panama has two related instruments, the mejorana and the socavón, which differ European carnivals, but in modern festivals the contents present the mixed cultures
in the number of strings but share a very small fingerboard of only five frets. Brazil of Latin America, in which indigenous and African elements feature prominently.
has the strange viola de cocho, which uses only two or three frets, as well as the
popular little guitar, the cavaquinho. The Andes have produced several styles and The largest ensembles in this area are those from Bolivia. Parade groups com-
sizes of charangos. Various mandolins, bandolins, and bandurrias make the rounds pete with dazzling large-scale costumes imported from the home regions, rep-
of the continent. resenting characters and stories that reappear in such parades everywhere from
Oruro, Bolivia to Stockholm, Sweden and, of course, Washington. Musicians,
Drums especially percussionists, often perform live during the parades. Uruguay’s par-
As with small guitars, Latin Americans use a startling variety of drums. The best ticipation typically comes in the form of candombe, an African inheritance of that
known in the U.S. are surely the dance-band congas and the bongos of Ricky Ricardo country. Other nations with large populations of African descent, like Puerto Rico,
and beatnik fame, both from Cuba (indirectly, in the first case: the conga drum comes Cuba, Colombia, Brazil, Panama, and Venezuela, also bring percussive contin-
originally from the Congo region), and then the timbales, made famous here by the gents, while a different music is heard from the contingents that represent coun-
Puerto Rican Tito Puentes. But even in Cuba there are a variety of other drums, such tries such as Guatemala, Mexico, or Paraguay.
Fiesta DC’s Fiesta DC’s
18 Choral and Symphonic Music Back Latino Cultural Guide Latino Cultural Guide Next Choral and Symphonic Music 19
CONOZCA
SUS
DERECHOS
Choral
and
Symphonic Music
We begin with what may be
the unexpected: choral and
symphonic music. Coral Antigas'
repertoire ranges from folk and
popular songs to orchestral and sacred
español
works, music that is both ancient and
modern, sung in various European and
Yo hablo Native American languages. Coral Antigas
has collaborated with a remarkable number
of other musical groups and appeared at
a variety of local, national, and international
venues. It has presented the local and U.S.
premieres of significant works.
The Pan American Symphony Orchestra, a
¿Sabía usted que las agencias gubernamentales
resident program of Trinity University in the
del Distrito de Columbia deben proporcionarle
District of Columbia, showcases orchestral
servicios en su idioma sin ningún costo? works of Latin American composers and
Para obtener más información sobre sus
is known especially for its performances
of symphonic tango. Its director, who
derechos, visite www.ohr.dc.gov
teaches music at the University, has
conducted in Agentina, Honduras, and
Russia as well as in Washington.
These two organizations remind us of the
many dimensions of Latin American music
and of the multiple talents and interests of
performers who reside in Washington and its
Oficina de Derechos Humanos de D.C. surroundings.
ADRIAN M. FENT Y, ALCALDE
Fiesta DC’s Fiesta DC’s
20 Choral and Symphonic Music Back Latino Cultural Guide Latino Cultural Guide Next Choral and Symphonic Music 21
Bands
and
Orchestras
The largest section of this Guide is on bands and
orchestras (orquestas). For these purposes,
a band is simply a musical group composed
predominantly of related instruments such as
percussion, brass, woodwinds, or strings.
An orquesta, however, has a more specific
meaning for dance music from the Caribbean
area. It is composed of several sections: 1)
congas, timbales, bongos; 2) keyboard, bass,
electric guitar; 3) trumpets and saxophones,
or violins; 4) voices (with the singers often
accompanying with hand percussion such as claves,
maracas, or scrapers); and 5) varied instruments
such as flute, clarinet, tres or cuatro.
Some groups use “Orquesta” as part of their
names; others don’t. The Guide follows their
preferences. In broad terms, bands and orchestras
correspond to small and large formats, respectively,
although some bands are large.
This section includes two bands from the English-
speaking Caribbean, Image Band and Panmasters
Steel Orchestra.
Preceding pages:
Bolivian dancers at
Fiesta DC 2007.
Right: Pedestrians
crossing at the heart
of Georgetown
neighborhood.
Fiesta DC’s Fiesta DC’s
26 Bands and Orchestras Back Latino Cultural Guide Latino Cultural Guide Next Bands and Orchestras 27
Antoni809
The band plays not just merengue,
but also salsa, bachata,
reggaeton and Latin jazz
Eclipse, a famous
M
gue.
usical director and lead saxophonist Antonio Carr created Antoni809
in 2003 with the sole purpose of re-inventing the image of meren-
Latin rock band Merengue, from his native Dominican Republic, has taken a back seat in
made up of
Salvadorans and
the past five years due to the hype and publicity of reggaeton and bachata
Peruvians, was one music. These new genres, with their great beats and fresh new images, have
of three groups attracted more audiences all over Latin America, Europe, and the United
with three records States. It has been decades since stars Johnny Ventura and Wilfrido Vargas
each in the 90s: took merengue music to that level of popularity. Antoni809 is about to take
photo: gilberto meza
Mundo metal
(1992), American
it a step further.
Way (1994), and Antoni809 is currently working on its first CD, with completion expected
Asesinos en el by Fall 2008. Simultaneously, the band is performing all over the East coast
tiempo (1997). entertaining audiences of all cultures and backgrounds.
Dúo América was Antoni809 is made up of 14 musicians, most of whom live and work in
Afro Nuevo
Above: Afro Nuevo at another group with
three productions at
the Philadelphia and Washington, D.C. areas. The band members are most-
a Fiesta DC event in
2008. that time: Cantando ly Dominican,
a Latinoamérica while four others
Below: The band at a (1993), Cantando al come from Puer-
rehearsal. Corazón (1994), and to Rico, Haiti,
Traditional Cuban rhythms Dúo América por
siempre (1995).
Nicaragua, and
the U.S. Most
and up-beat Latin jazz Mystic Warriors also
had three records in of the musicians
the market: Mystic have played with
F ounded in 2006, Afro Nuevo focuses on traditional Cuban rhythms Warriors (1993), The other well-known
Shadow of the Sun
and up-beat Latin jazz. The band has performed at private events, (1995), and Beyond
Latin artists such
restaurants such as Havana Village and Mag- Reality (1997). as La Cocoband,
giano's, and other settings in the DC-Baltimore While Eclipse Fernando Villa-
area. disappeared years lona, Los Hermanos Rosario, Mannikomio, Oro Sólido, La Artillería and La
Its current members are Roberto Dominich later, Dúo América, Banda Loca. The set-up, or layout, of the band is typical of other merengue
although not listed
(congas, back-up vocals), Trey Charles (piano), in this guide, is still
bands--but with a twist: three vocalists, four horn players, three percussion-
Américo Méndez (bass and lead vocals), Benito active, as well as ists, piano and bass.
López (timbales and back-up vocals), and Tila Mystic Warriors. Antoni809 plays not only merengue, but also salsa, bachata, reggaeton
(trumpet). and Latin jazz. Antoni809 is dedicated to entertaining audiences all over the
Contact: Anthony Carr, Musical Director
world for a very long time. With their hip
Contact: Benito López, Booking Contact
301-343-6182 202-276-0309 new image and powerful performance ethic,
blopezx@hotmail.com Tonysaxxo@yahoo.com they are sure to succeed!
Fiesta DC’s Fiesta DC’s
28 Bands and Orchestras Back Latino Cultural Guide Latino Cultural Guide Next Bands and Orchestras 29
Armonía Latina
The band plays a wide variety of tropical,
Caribbean and South American Latin
rhythms and traditional Afro-Peruvian music
César Donald
Musical Tips
S
(below), who died
in the mid-90s, was ignifying life force and energy in Yoruba language and culture, Ashe is
a member of the also a powerful concept in Cuban popular and folkloric culture. Timba,
band. or modern Cuban music at its most energetic and multifaceted, is an urban
Batala
The band is open to anyone with an interest
Bio Ritmo
They bring salsa "into the now"
in learning the samba-reggae beat from Brazil through skillful layering of jazz, urban,
electronic and global sonic influences
photo: KENIA LOBO
W ashington, D.C.’s Batala is part of a larger Batala family created in Above: Batala at
International Women’s
1997 by Giba Gonçalves. Born and raised in Salvador, Bahia in Bra-
Day in 2008 .
zil, Giba was living in Paris when he first had the idea for the band. Open
to anyone with an interest in learning the samba-reggae beat, the band Below: Band members
started off with 60 people. From Paris it spread to other cities in France, at a street parade in the
Belgium and the United Kingdom. In 2003, the band finally made its way Latino Festival 2007.
back to its origins, brought to Brazil by Paulo Garcia, also the founder of
music to the United States. Today, the band has Since its origin as a percussion ensemble in 1991, Bio Ritmo has released
over 300 percussionists worldwide. four critically-acclaimed full-length albums:
Contact: Entour Entertainment Gabo Tomasini
Contact: 888-547-7418
Bio Ritmo (2004); Rumba, Baby Rumba
Juliana, Patricia
202-361-8993, 202-361-8992 salsa@bioritmo.com (Mercury, 1998), Salsa Galáctica (1997)
www.batalawashington.com www.bioritmo.com and Que siga la música (1996).
Fiesta DC’s Fiesta DC’s
34 Bands and Orchestras Back Latino Cultural Guide Latino Cultural Guide Next Bands and Orchestras 35
Cabasa
Latin jazz, bossa nova, samba,
salsa, cha cha, bolero
T he group starts as a trio for cocktail hour,
but to fit a specific affair can add horns,
a singer, and a conguero, and turn any event
Cabasa performs weekly in local restaurants
and bars in the Washington area.
THE SONS OR DAUGHTERS of many musicians and singers are now members of others groups or
play with their parents or relatives. Marimba Xelajú and Marimba Mi Pequeña Internacional have
always been family groups, with parents playing with their children or other relatives.
Furia Band
Lilo González’s son, known
as “Lilito,” is a founding
member of Machetrés, a
Latin rock group listed in
this guide. María Isolina’s
two boys, Daniel and
Miguel, usually perform
T
have musical children. he Furia Band has been going strong since
Segundo’s son, Jaime
Rafael, is co-founder of Los
its founding in 2004. It has been featured on
Grandes de El Vallenato; just about all the Latin radio stations in the area,
Arrien is a member of and also out of state. The band has traveled to
Los Rumis, where his son Florida, New York, Texas, Massachusetts, and
Mariano plays various California, among others places. The eight
instruments, and Daniel María Isolina’s sons, Daniel and Miguel.
“Danny” Sheehy, Jr.
members of Furia Band are from El Salvador.
performs with the band that his father created in the 70s, Mariachi Los Amigos. Its first CD, Alegría total is due at the end of
Peruvian signer Vicky Leyva is a special case. Two of her daughters, Vannesa Díaz and SuleyD, are lead this year.
vocalists for the orchestras La Tremenda and Armonía Latina, respectively.
Surely, talent is passed down from generation to generation. Contact: Danny López, Manager
202-409-6489
danny@furiaband.com
www.furiaband.com
Fiesta DC’s Fiesta DC’s
36 Bands and Orchestras Back Latino Cultural Guide Latino Cultural Guide Next Bands and Orchestras 37
JCJ Band
Playing to please
Latin American and
Anglo-American
audiences
Festival, the largest Hispanic festival in the
capital city. This performance marked the offi-
cial debut of the band, attracting the attention of
local Hispanic media and pleasing an audience
of 20,000.
JCJ band has played from 1990 until the
present in almost all of the Hispanic clubs in
southern Maryland, Washington, and northern
Virginia, providing night after night some of the
best entertainment found in the area. The band
demonstrates at every performance that playing
several styles of music is the only way to please
not only a Hispanic audience comprising a wide
variety of nationalities but an Anglo- American
audience as well.
For years, JCJ Band's popularity has never
declined, considered "the icing on the cake"
when hired by local promoters as the open-
ing band for international stars. Currently, JCJ
Band is also performing in New York, Philadel-
Los Rumis
Folk–Fusion from Bolivia
A new version of Rumisonko, Los Rumis is
a Latin American folk ensemble based in
Washington. Its members are originally from
more Folk Festival, and the Takoma Park Folk
Festival, among many others.
Rumisonko means “heart of stone” in the
Bolivia and the United States. The group’s language of the Quechua, a culture that spans
music is a combination of traditional Andean the breadth of the Andes Mountains in South
music and other influences from Latin America America. It is meant to express the enduring
folklore and The New Song movement. strength of the cultures that are the root of An-
The group’s members have performed in dean music.
venues such as New York’s Lincoln Center and
Contact: Carlos Arrien
the Kennedy Center. They have also appeared
202-340-9420
in the Smithsonian’s Folk Life Festival and in carlos@arrien.com
such events as the DC Latino Festival, Balti-
Miguel Chacaltana y
T Amanecer Criollo
his is without a doubt one of the bet-
ter groups in the Virginia area. Despite its
members' short trajectory together, they have
been able to make themselves the favorites of
the public in general, with a broad and varied
repertory for all tastes. If you are looking for the
F ormed in Falls Church, Va., in 1990, the en- Sabroso, El Chalán and Rincón Español. Cur-
semble Amanecer Criollo now includes a rently, Amanecer Criollo plays exclusively
classic or creole guitar, electric bass, congas, Afro-Creole music from the Peruvian coastal,
best live music for your party, look no further. Peruvian cajón (wooden percussion box played mountain, and rain forest regions.
We are your best option! by a seated performer), and vocalist.
It began playing at Latin American Contact: Miguel Chacaltana, Artistic Director
Contact: Polo Rodríguez 703-544-3244, 703-338-4130
embassies and restaurants such as La
703-496-0978 chacaltaneando@hotmail.com
Prodriguezd25@peoplepc.com Granja de Oro, Machu Picchu, El Tazu-
www.youtube.com/mikechacaltana
www.grupoluzdeluna.tk mal, El Majahual, Cecilia's, El Puerto, El
Fiesta DC’s Fiesta DC’s
46 Bands and Orchestras Back Latino Cultural Guide Latino Cultural Guide Next Bands and Orchestras 47
Fiesta DC’s Fiesta DC’s
48 Bands and Orchestras Back Latino Cultural Guide Latino Cultural Guide Next Bands and Orchestras 49
Movimiento
The group’s name reflects a conviction
that music and dance are inseparable,
blurring the line between performer and audience
A
Right: Movimiento, a new D.C.-based
new D.C.-based Latin Latin band, Mo-
band. The nine-piece
band consists of two vimiento features vo-
lead vocalists, two horns, cals, ripping horns, and a
three percussionists, hard-driving rhythm sec-
piano and bass. tion. The group’s name
reflects a conviction that
Preceding pages: music and dance are in-
This famous mural of separable and that the
Marylin Monroe looms
over the corner of best art is made when the
Connecticut Avenue line between performer Musical Tips
and Calvert Street, NW and audience blurs.
Washington. Movimiento has per-
Mystic Warriors
formed at music festivals
(Brookland Music Fest
2007) at conferences The Andean charango
(American University is often made from the
shell of the armadillo
Washington School of
Law conference on Hu- Universal peace and harmony (“little armored one,” in
Spanish). Chajchas are
man Rights and Trade in Colombia), fundraisers (for victims of the Peruvian
earthquake) and private parties. It also has performed at “Artomatic,” the ac- transmitted through ancient paired clusters of the
dried hooves of animals
T
a short, wooden sound.
wierzynski@yahoo.com sists of two lead vocalists, two horns, he Mystic Warriors are dedicated to exposing the essence of Andean Mu-
www.myspace.com/movimientodc three percussionists, piano and bass. sic in a completely unique way. While their music style appears to fit into
the “New Age” category, it often sounds like world music, contemporary jazz,
Our City Latin or mainstream popular. They believe their music is a fusion that crosses
over all of these without leaving the boundaries of Andean music. More im-
portant than categorizing their style is their ability to deliver a message of uni-
versal peace and harmony transmitted by the combination of Andean ancient
flutes and panpipes with contemporary instruments.
Joining the ancestral sounds of the Incas with today’s newest sounds,
Mystic Warriors is dedicated to expos- Contact: Marco Mallea
ing the essence of Andean 301-929-8796, 1-800-604-6832
Left: View of mysticwarriors@aol.com
Georgetown
Music in a completely
www.mysticwarriors.com
University. unique way.
Fiesta DC’s Fiesta DC’s
50 Bands and Orchestras Back Latino Cultural Guide Latino Cultural Guide Next Bands and Orchestras 51
Nayas
Nayas’ music is like a shaman's bag,
with songs covering a variety of styles a
repertory that includes reggae roots-style, rock,
frenzy-dancing ska, poetic South American roots
Right: Nayas at a
performance. T he group was born in 2001 when Soy López and Luis Torrealva met in
Washington, D.C. Sharing similar musical interests they started writing
songs in a backyard, surrounded by the aroma of asaditos (meaning BBQs),
Below: The cover of the taste of cold beers, good friends with a nostalgic reminiscence of their
Nayas’s first self-
homes… After years of playing and having some reincarnations, Nayas’
titled album. They are
currently recording members are now: Soy López, lead vocals/rhythm guitar; Luis Torrealva,
their second. lead vocals/base guitar; Joey Carrasquillo, vocals/percussion; and Names
Thompson, drums/percussion.
The members of Nayas are lovers of all music. They continually welcome
guests from fellow local bands to collaborate and enjoy the sounds of good mu-
sic. Nayas has now become renowned in the Washington area, playing in com-
munity festivals, large performance venues, and intimate settings. They have
shared the stage with Vilma Palma, Amigos Invisibles, El Gran Silencio, Kinky,
Volumen Cero, Yerba Buena, Calle 13, Papa Grows Funk, Marc Anthony, and
fellow local bands. Their first self-titled album is already available and they are
currently recording their second.
Nayas’ music is like a shaman's bag, with songs covering a variety of
styles. Their lyrics come from very personal visions of the world that are
shared among people longing for happiness,
simplicity, relationships, community and friend-
ship. Everything is spiced with good humor
sending a positive message.
Nayas’ members are from Uruguay, Peru,
Puerto Rico and the United States. You might
see them in the neighborhood drinking pisco
sours after midnight…
Orquesta La Leyenda
some of the greatest acts in salsa history. Current-
ly, La Romana serves as the Tito Puente, Jr. (son
of the late king Tito Puente) Orchestra on his tours
from New York City to Richmond, Virginia. The
Brings back the best in classic band has backed up solo artists such as Tito Allen,
Latin dance music and Latin jazz Cano Estremera and Lalo Rodríguez.
Current members of this salsa orchestra in-
L a Leyenda returns to the “old school” of love with traditional Latin music in the early
traditional Latin big-band dance music. It's 1990s. An avid student of the music and its his-
rooted in the repertoire of the New York City tory, especially the music of Cuba and of the
clude Edwin López, band leader; Polin,
saxophone; Herbie, trombone; Tony,
bass; El Guapo, congas; Andy, timbales;
Contact: Edwin Ortiz, Artistic director
240-498-5083
Information@orquestalaromana.com
Latin bands that thrived during the exciting early years in New York, Ted has played with Harvey, bongo; Pilo, trumpet; Robert, www.orquestalaromana.com
times when the U.S. first became enthralled by merengue-cumbia bands Ramón Lara y sus trumpet.
the music of its neighbors to the south. Small Profesionales and Zafiro, and with salsa bands
Orquesta La Sensual
combos, medium-sized Zeniza, Peligro, Grupo
conjuntos, and big bands Latino Continental and
played the hotels and Melao.
Catskills resorts where He has shared the
America learned to dance
the mambo, cha-cha-
stage with Celia Cruz,
Willie Colón, Joe Ar- The band provides some of the best salsa, merengue,
chá and rumba and first
saw tango dancers. They
royo, Grupo Niche, José
Alberto “El Canario”
cumbia and even Tex-Mex music around
brought with them an element from the streets and others. He is a respected arranger who has
of Spanish Harlem: a rhythm that is insatiable written many arrangements for various local
in urging its listeners to dance until the sun is and national bands. La Leyenda brings back the
T he passionate rhythms and expressive per-
formances of La Sensual have made this
band popular with Central and South American
performing in the area for the last 20 years with
different groups. She studied music at the Uni-
versity of Puerto Rico and plays guitar, flute and
well into the sky. best in classic Latin dance music and Latin jazz. communities. saxophone. Marcos and Lee describe La Sen-
The music–in truth, the music of the street– From the original big-band format, Ted has ex- Band director Rolando Marcos is a native of sual’s music as truly international. It is a fusion
grew into an industry that fostered the birth of panded the group’s concept to include two other Peru, where he was a member of the well-known of the modern sounds of electric guitars with
salsa and witnessed the arrival of new immi- bands: a seven-piece combo that specializes in group La Clave del Callao. The band moved to drums and the traditional sounds of tropical
grants who brought with them a love for the me- Latin jazz and a ten-piece conjunto whose forté the United States in 1990 and, citing creative Latin music. The unusual combination provides
rengue and cumbia and uncountable other dance is salsa, merengue and cumbia. differences, eventually split. Marcos performed some of the best salsa, merengue, cumbia and
rhythms from the Caribbean and from Contact: Ted David, Founder and Artistic Director with various other bands before moving from even Tex-Mex music around.
Central and South America. 301-864-3065 New York to D.C., where he met Brenda Lee, Contact: Brenda Li, Owner
D.C.-born saxophonist and flutist ted.davis@verizon.net his partner in La Sensual. 703-786-4996
Ted David started playing and fell in www.orqlaleyenda.com Brenda, a native of Puerto Rico, has been blbonano@yahoo.com
Fiesta DC’s Fiesta DC’s
54 Bands and Orchestras Back Latino Cultural Guide Latino Cultural Guide Next Bands and Orchestras 55
Orquesta Salsaley
Salsaley is known for its covers of songs from
salsa artists such as Héctor Lavoe, Grupo Niche,
Marc Anthony, Joe Arroyo, and Rey Ruiz
S alsaley is one of the youngest musical groups
in the Washington area. In 2007 two friends
whose passion is salsa started looking for musi-
cians to join them. After a long process there
were eleven in the band. Months of hard work
and preparation led to their first gig. Since then,
they have been playing for night clubs, festivals
and private parties.
Currently they are working on their first
single, Bacílame, a song that is getting stronger
every day. Salsaley is known for its covers of
songs from salsa artists such as Héctor Lavoe,
Grupo Niche, Marc Anthony, Joe Arroyo, and
Rey Ruiz, but they also play merengue and Co-
Contact: Julian R.H., Manager lombian cumbia.
240-461- 4719
www.myspace.com/sondedc
Orquesta Melao
The group was recognized by
The Washington Post as one of the best
orchestras in the local area
F ormed in 1996, Orquesta Melao has opened
for well-known international artists such as
Olga Tañón, Grupo Niche, Gilberto Santa Rosa,
orchestras in the local area. Orquesta Melao was
invited to play at the White House, and also has
played at the Kennedy Center, Carter Baron Am-
José Alberto “El Canario,” Conjunto Clásico, phitheatre, Merriweather Post Pavilion, organiza-
Maná, and many others. The group, made up of 11 tions of great prestige and many local salsa clubs.
experienced musicians, also
Left: Dancing in the Contact: Luis Noboa
street at the Latino
was recognized by The Wash-
ington Post as one of the best 240-462-8820
photo: JOSE SANCHEZ Festival.
Fiesta DC’s Fiesta DC’s
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Ritmo y Sabor
he sang with Ismael Miranda, by him.
Adalberto Santiago and Pete
“El Conde” Rodríguez, mem-
bers of the Fania All Stars. In
1997 Verny was the lead singer
in the Gabino Pampini Band.
Since 2000, Ritmo y Sabor has been the source
Later, he went on tour in Europe
and in the United States with Tito
of Latin American music at Havana Village
Gómez. Verny wrote and sang for
Thievery Corporation on the albums
The Richest man in Babylon and The
T he group was born in 2000 in the heart of chorus); Ronal Mendoza (timbales, battery).
Washington's Adams-Morgan neighbor- Oscar Allauca can be contacted at P.O. Box
hood under the leadership of Oscar Allauca. 21124, WDC 20009.
Cosmic Game. Also, he wrote for Since then, it has been the source of Latin
and recorded on the Hip Hop CD American music at Havana Village. It has ap-
The 51st State. peared also at other events including the fol-
In New York in 2002 Verny lowing: the Latino Festival in Mt. Pleasant;
sang on the 40th Anniver- Hispanic Heritage Month celebration of 2004
sary CD of the outstanding and 2005 at the AARP; the celebration of 5 de
charanga Orquesta Broad- mayo in 2007; and the celebration of the Latino
way. In 2004 Verny released Economic Development Commission (LEDC)
his album Amar de nuevo, in May 2008.
which made it to the Latin The musicians, all of them born in Peru, are:
Grammy list of the best Oscar Allauca (bandleader, bass, voice); Contact: Oscar Allauca, Manager
tropical albums 2005. Songs Charles Marston (piano and voice); 202-387-3915, 202-486-6177 (Cell)
like Matilde and He vuelto Laura Sosa (voice); Hilder Cancho oscarallauca@hotmail.com
a amar became hits in Cali, (trombone); Angel Urquiza (congas, www.gruporitmoysabor.com
Fiesta DC’s Fiesta DC’s
58 Bands and Orchestras Back Latino Cultural Guide Latino Cultural Guide Next Bands and Orchestras 59
Patrick Alban
y Noche Latina
Raymi
Traditional instruments such as
Acoustic rock, salsa, zampoñas, mosceños, quenas and tarkas are used
Cuban, blues in context with the classic band instrumentation
F or two succesive years, 1999 and 2000, Pat-
rick Alban and Noche Latina were nominated
by WAMA (Washington Area Music Association)
for Best Latin Band and Best Latin Vocalist. They
also performed live at the 2000 WAMA awards
ceremony, which was covered by the Washington
Post as well as Public Television.
On April 12, 2000, Patrick and his band per-
formed at the Kennedy Center. The group has
released four CDs and one video. Its latest is
Ojos Verdes.
For details about the band and Patrick as
well as their show dates, check out www.gabi-
records.com.
F ounded in 2004, the band is based in Washington, D.C. Its music brings the
haunting sounds and mystic power from the Andes to the rest of the Americas
and the world. Raymi uses traditional instruments such as zampoñas, mosceños,
Above: Raymi
explores the
possibilities that
BY 1997 THERE WERE the bass, guitars,
at least 44 recordings by quenas and tarkas in context with the classic band instrumentation, exploring the keyboards and trap
local musicians, according possibilities that the bass, guitars, keyboards and trap drums can have together drums can have
to research presented by with the Andean tradition. together with the
the now-defunct Centro de Andean tradition.
Raymi, which means feast or celebration in the Quechua language,
Arte de Washington. The
titles included Cantor de is a new musical language for many, a place from which contemporary
Oficio (Camboy Estévez y universal music can be seen through to a dimension of unity and under-
Primitivo Santos), El Huerto standing.
(Rumisonko), Ritmo y Raymi’s passion for its roots is reflected in its music; its love for tradition
Melodía (Tulio Arias), Going
Home and Cipote (Izalco), El and knowledge can be heard in its sound. Raymi's commitment to the people
Abandonado (José Reyes), of the world is the seed that will grow and will be harvested by future gen-
Canciones inolvidables (Zuly erations so that the new world can enjoy the Contact: Juan A. Cayrampoma, Manager
de Venezuela), Ritmo y Sabor fruits of Raymi’s focus on human creation. 703- 593-7587
(Zeniza), Ucachita (Julio Sosa),
y Estás en mi (Lesly Daily).
Raymi’s members are Gustavo Vargas, contact@raymimusic.com
Alejandro Lucini and Juan A. Cayrampoma. www.raymimusic.com
Fiesta DC’s Fiesta DC’s
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La Familia Univision-Telefutura
Saoco
The group is the perfect alternative to a larger band
G rupo Saoco was founded in 2007 with sal-
sa as its specialty. With eight expert musi-
cians, the group is the perfect alternative to a
able for private events.
Manager Luis Noboa also manages the
Melao and MelazaJazz groups.
larger band for experiencing the great sound of
Contact: Luis Noboa, Manager
salsa. Currently the group performs at the Ha-
240-462-8820
bana Village Club in Washington, and is avail-
Sin Miedo
“A truly international group that makes the Afro-
Cuban rhythms of Salsa and Mambo jump into
your bloodstream and move your hips around”
T he band’s name
means “fearless” in
Spanish. Its the name
of one of the best salsa
bands in Washington.
Led by French pianist
Didier Prossaird, the
name sums up the band
leader's attitude toward music “(Washington
Post, Oct.12, 2001–EricBrace).
“Sin Miedo is a truly international group
that makes the Afro-Cuban rhythms of salsa
and mambo jump into your bloodstream and
move your hips around” (Washington Flyer,
Oct. 2002).
The repertoire includes the classic salsa hits
from the 70s to today as well as cha-cha, bolero,
and original music with a French twist. Because Contact: Didier Prossaird, Director
of its versatility, the band can switch from dance 301-483-3307
music to listening music with a large repertoire didier_p@msn.com
www.sinmiedo.us
Entravision Communications / 101 Constitution Avenue, NW, Suite L-100 - Washington, DC 20001 / (202) 522-8640 of Latin jazz.
Fiesta DC’s Fiesta DC’s
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Son Quatro
The band plays the classic salsa sounds from the
70s and includes covers from Tito Puente,
Musical Tips
Ray Barreto, Rubén Blades, Fania, etc.
A Latin band from
Richmond, Va., Son
Quatro has been perform-
Puerto Rico,
Venezuela,
ing for corporate events, Colombia, and
private parties, and clubs Cuba all use an
since 2001. Son Quatro instrument called
has the experience nec- cuatro. Except for
Its wide-ranging repertoire includes from Colombia, Puerto has five courses of
double strings.
Rico, Peru, Mexico, and
soft ballads such as boleros as well as USA, including Kevin Ortiz (timbales), Mario Duque (piano), Jhon Acevedo
(bass), Pedro Zamora (conga), Oscar Bravo (bongo), Benjamin Arrendondo
Musical Tips
cha-cha-chá, salsa and merengue. (güiro and güira), Scott Frock (trumpet), and Rob Qualich (trumpet).
Son Quatro plays the classic salsa sounds from the 70s and includes covers
from Tito Puente, Ray Barreto, Rubén Blades, Fania, Ismael Rivera, Cheo Feli-
Our City
headed drum played has traveled for promotion purposes to the Festival of La Tonada in Tunayan,
with one bare hand
and a striker in the
Argentina, La Paz, Bolivia, Mexico City, Mexico, and her own native coun-
other hand, and the try, Honduras.
güira, a cylindrical Isolina is a songwriter with two albums on the market along with two
metal scraper with music videos from her original songs Oro y Arcilla and Significado de Mujer.
a handle. Their The Washington Post has called Maria Isolina a “talented singer, composer,
rhythmic patterns
make the merengue
and songwriter…her strong clear voice is filled with fire and passion.”
immediately She has opened for singers John Secada and Cachao. She has also al-
identifiable. The ternated with Celia Cruz and has sung with other famous singers and groups
saxophone and such as Leo Dan, Barry Manilow, La Sonora Dinamita and Willy Chirino.
the accordion also
became with time Contact: Daniel Amaguana
typical instruments 301- 990-9677 Right: Tourists
for merengue solyrumba@hotmail.com sightseeing in
ensembles. www.solyrumbaband.com downtown Washington.
Fiesta DC’s Fiesta DC’s
70 Bands and Orchestras Back Latino Cultural Guide Latino Cultural Guide Next Bands and Orchestras 71
photo: BARRY WHEELER 72 Bands and Orchestras Back Latino Cultural Guide Latino Cultural Guide Next Bands and Orchestras 73
photo: MEDIA644
Un Mundo
The group plays mainly classic salsa from
the 60s, 70s and 80s and Afro-Puerto Rican plena and bomba
Vanessa Díaz y La Tremenda
The dynamism and originality of its members
U n Mundo is a 12-piece salsa band from
Fredericksburg, Va. The group plays main-
ly classic salsa from the 60s, 70s and 80s and
with many improvised descargas—jams—that
burn right through the dance floor. Past venues
include the University of Maryland Multicul- in playing a variety of rhythms make their
Afro-Puerto Rican plena and bomba. This style
is also known as Salsa Dura or Nuyorican Salsa.
tural Fair, Latino Festival of Fredericksburg,
Fredericksburg Country Club, and, as headlin-
music undeniably full of life
It celebrates the golden era in salsa from both
Spanish Harlem (El Barrio) and Puerto Rico,
with a repertoire of music by artists such as Ed-
ers, the monthly Salsa Night at the Loft Club.
Zafra
It selects as its repertoire the best
Venezuela,
Colombia , Ecuador,
and Perú each can
be divided roughly
into three parts: the
Pacific or Atlantic
of a variety of genres, offering coastal areas, the
Andean region,
Villa-Lobos Brothers
the hot coastal areas
where the ports
of entry for the
slaves were located.
Ancient indigenous
Special
Genres
These genres are defined by a particular combination of
music, dance, instrumentation, and even costuming. For
them, specialization rather than variety is the standard.
Flamenco, for example, is performed only by
flamenco groups. It uses special costumes and limited
instrumentation, and in modern times has been fairly
standardized in the range of styles it uses.
Mariachi, similarly, has costumes and instrumentation
used only by mariachi groups. A mariachi may play
sones or boleros or romantic ballads or waltzes,
www.washingtonhispanic.com but it will always sound and look like a
mariachi.
A marimba group is built around a
El periódico en español más influyente particular instrument, large enough that
it can be played by more than one
en el área metropolitana de Washington. performer at once. Like flamenco
and mariachi, a marimba group
sounds and looks like a marimba
Todos los viernes en más de 2,500 group no matter what style of
lugares en Washington, Maryland y Virginia. music it is playing. The same is true
of norteñas, samba, and tango.
Sirviendo a cerca de 200,000 familias. Rock bands follow no particular
standard or tradition, but are included
in this section for convenience.
202-667-8881 Area residents can learn to dance
flamenco and tango with local instructors,
Fax: 202-667-8902
some of whom are listed in this section.
Arte Flamenco
Flamenco F lamenco is an art that explodes outward cap-
turing the imagination of the spectator with its
fire and fury. Highly emotional and intense, it is
above all the art of the individual.
photo: FERRUCA
performer. the audience. Great care is taken to retain au-
Flamenco is also the name of the dance thenticity and to use the highest caliber of tal-
that the music accompanies. ent, culled from local dancers, musicians and
singers, as well as occasional invited interna- Contact: Natalia Monteleón, Director
tional guests. The company, which uses live 301-617-0694
musical accompaniment exclusively, is known natalia@arteflamenco.us
www.arteflamenco.us
for its impassioned performances.
Fiesta DC’s Fiesta DC’s
82 Special Genres Back Latino Cultural Guide Latino Cultural Guide Next Special Genres 83
Duende Camarón
venues of the Smithsonian, Carter Barron, and
Furia Flamenca
Its choreographies have been selected for numerous
Constitution Hall. Their flamenco is influenced
by rumba artists like the Gypsy Kings and also
by Latin American music.
shows including Joy of Motion’s Dance Project
The name has a very important meaning
to the flamenco world: "duende" is a especial
phenomenon in which a flamenco musician can
B ringing the ferocity and passion of flamen-
co to the stage, Furia Flamenca is unique in
that it combines flamenco's gypsy heritage with
give the best of his or her art with much passion, modern flamenco choreography to create an el-
while Camarón (“shrimp”) was the nickname of egant balance of motion and energy, making its
José Monje Cruz, one of the most important fla- performances absolutely enthralling and totally
photo: MELISSA
and the Balearic
Islands, and its
variant, Valencian,
spoken in the Valencian Community. Basque (euskera), in use since before the Roman conquest, is still
used in the Basque Country and Navarre. Aranese, with roots in the Middle Ages, is found in north- Contact: Estela Vélez, Artistic Director
western Catalonia, in the Pyrenees. Among minor languages, Aragonese (from Occitan), Astur-Leonese, 703-568-4404
Extremaduran and Fala enjoy some recognition butare not official languages. estela@furia-flamenca.com
www.furia-flamenca.com
Fiesta DC’s Fiesta DC’s
84 Special Genres Back Latino Cultural Guide Latino Cultural Guide Next Special Genres 85
Musical Tips
Flamenco is only
one of a variety of
traditional Spanish
Requiebros Suspiro Andaluz The maracas from
dances, some with
Vibrant and authentic costumes help to the plains of the
T
other maracas has
known dances are the he Requiebros Spanish Dance Group typifies the elegance and grace that to learn them like a
paso doble (the music distinguishes flamenco from other styles of dance. Under the tutelage new instrument. The
heard at bull fights), of choreographer and director Carmen de Vicente, the group showcases the right hand plays an
the fandango, and upbeat in counter to
the bolero (which is
classical “Escuela Bolera” style of the 18th Century, as well as contempo-
F
the down beat on
not like the Caribbean rary genres that include flamenco, rumbas, tanguillos, sevillanas and tradi- ounded in 2007, Suspiro Andaluz has been featured at the Annual Span-
the left hand. They
bolero that took its tional folk dances from various regions of Spain. ish Festival at the Strathmore Center for Performing Arts, as well as local are played very fast
name). Vibrant and authentic costumes help to create a cheerful blend of energy and venues throughout the greater D.C. area. and moved straight
excitement that make a performance by the Requiebros a musical pleasure. Accompanied by a live guitarist, Suspiro Andaluz performs traditional sub- up and down, rather
The group consists of approximately 20 dancers from beginning to genres of flamenco, including alegrías and tangos, as well as the flamenco-style than being tilted
forward on the beats,
advanced levels. They have held recitals for diverse audiences and per- partner dance
Contact: Maria and made to produce
Contact: Carmen de Vicente, Founder formed in schools, international programs, area 541-515-0630 from Seville swishing sounds by
703-684-1949 festivals, nursing homes, and at private engage- maria@dcflamenco.com called sevil- swirling them around
www.carmendevicente.com ments since 1996. www.dcflamenco.com/photoblog/2007/05 lanas. the axis.
Fiesta DC’s Fiesta DC’s
86 Special Genres Back Latino Cultural Guide Latino Cultural Guide Next Special Genres 87
Mariachi Estrellas
www.myspace.com/mariachifiesta
White House, embassies and festivals.
Mexican mariachis
F ounded in 1979,
Los Amigos is
the Washington ar-
are said to be
named after groups ea’s longest-existing
that entertained at mariachi ensemble.
weddings during As its name implies,
the time of the
it was formed by a
French occupation
of Mexico. The group of friends who
word for marriage shared a passion for
in French is the the lively, extroverted
same as in English, sound of the maria-
and from it came
chi and for the wide
mariachi.
range of music that it
plays. The traditional
mariachi ensemble
emerged in the 1800s
in several western
states of Mexico, in-
cluding Jalisco, Nayarit, Colima, and Michoacán, found at weddings, birthdays,
saint’s day celebrations, rural dances, and other social occasions.
H earing this mariachi band is like taking a mantic serenade the group offers a nice two- or
one-way trip straight to Mexico. With their three-piece band. It also offers larger ensembles
acoustic melodies and authentic Mexican sing- that can give any event the mood of an authentic
The rise of recordings, radio, films, and television in the 20th Century ing, Sin Fronteras is a band you’ll never forget. Mexican Fiesta.
took mariachi music to audiences throughout Mexico, Latin America, and They have performed at festivals,
beyond. During this time, since the 1930s, the mariachi evolved to become a gatherings, school assemblies, pri- Contact: María Isolina, Booking Manager
240-643-9148, 301-990-9677
widely popular musical ensemble with a preferred instrumentation of two or vate parties, weddings, hotels, and
solyrumba@hotmail.com
more violins, two trumpets, vihuela (rhythm guitar), and guitarrón (bass). more. www.solyrumbaband.com/custom3.html
The earliest members of Mariachi Los Amigos came from many nations For a small event such as a ro-
and regions, including Mexico, Bolivia, Puerto Rico, Texas, and California.
While its membership has evolved over the years, its original passion-driven
spirit remains.
Founding members Luis González on vihuela and Daniel Sheehy on trumpet Luis González (left) and Daniel Sheehy performed son jarocho
are from Mexico and California, respectively. Other members are guitarronero and ranchera music playing guitar and harp at the Archdiocese
Mario Castro, Mexico; trumpeter Francisco Soto, Arizona; and violinists Terry of Washington. As a duo, they performed regularly at El
“Toni Luna” Liu, Ohio, Daniel “Danny” Sheehy, Jr. (son of our director) of Falls Tazumal Restaurant in Adams Morgan in the late 80s with the
Church, Virginia, and June Welsch of Fairfax, Virginia. name Dúo Amigos.
With an extra musician, sometimes they formed the Trío Amigos.
Mariachi Los Amigos performs a wide repertoire of musical material, from the Both, founders of Mariachi Los Amigos, appear on the opposite
latest canción ranchera (country song), to romantic boleros, lively polcas, and some page in front of the Capitol. Sheehy and Soto are, from left,
Contact: Francisco Soto, Manager of the oldest of the fourth and fifth.
703-671-5463 hard-driving sones
www.geocities.com/terryliu_99/Mariachi_Los_Amigos.html jaliscienses.
www.mariachilosamigos.com
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Mexico is a federation of 31 states and the Federal District (D.F., or Mexico City ). The largest state,
Chihuahua, bordering on Texas and New Mexico, is almost half the size of Spain.
photoS: gilberto meza
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Mi Pequeña Norteñas
Internacional “Norteña,” meaning “of the north,” is music from
Mexico’s northern states. Classic norteña bands
They are not limited to the traditional Guatemalan may be small, even just a duo or trio, playing 12-string
guitar, accordion, and snare drum, but modern versions
folk music, but also include international rhythms use additional instruments.
The dress has a flashy-cowboy look; hats are standard.
T he Marimba Pequeña Internacional was
formed in 2005 by the Sarceño family.
The group has performed in different multi-
The names of the bands frequently include the phrase
“del Norte,” as in Tornados del Norte. The sound is
cultural events and festivals in the Washington often similar to that of the polka, but with a country
area, including the Takoma Park Festival and feel and in Spanish.
the D.C. Folk Festival. In addition, Marimba
Pequeña Internacional has appeared at the Norteñas are known for corridos, narratives on
embassy of Israel and other consulates and themes that range from the Mexican Revolution
embassies. to stories of tough men and, not surprisingly,
This group has a selective and diverse rep-
ertoire. They are not limited to the traditional
the hazards of emigrating to the U.S. They
Guatemalan folk music, but also include in- also play newer rhythms such as the much-
ternational rhythms like cumbias, merengues, faster quebradita—as energetic as salsa
danzones, corridos, boleros and others. or a fast merengue—and the pasito
Marimba Pequeña Internacional is com-
posed of the following members: Cecilia Sar- Contact: Fernando Sarceño, Director
duranguense (named for the state
ceño, Sherri Sarceño, Jose Sarceño, Pablo 240-205-0954 of Durango), also a faster music,
Sarceño, Adán Soto, and Vinicio. marimbaint@yahoo.com
which can incorporate Texan
cumbia, cha-cha, mambo, rock,
and other styles.
The Tawantinsuyo was the empire of the Quechuas, Quebradita groups are called
named from the words tawa (four) and suyo (nation,
state). Divided into four territories centered around
bandas. Duranguense, a
present-day Cuzco in Peru, it stretched down the favorite in the U.S. and
Pacific Coast north to present-day Colombia and
south through Ecuador to Chile, incorporating particularly in Chicago,
to the west what are now Bolivia and part of expands the instrumentation to
Argentina, reaching the edge of the Amazon area.
The Tawantinsuyo came to an end during a bitter brass and woodwinds.
battle for succession between bothers Huascar
and Atahualpa that coincided with the arrival of the
Spanish. The histories of Ecuador and Peru diverge
from that time forward.
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100 Special Genres Back Latino Cultural Guide Latino Cultural Guide Next Special Genres 101
Corazón Norteño
They love to entertain their public
Tornados del Norte
and they love to play norteña music B orn in 2004 in Chilapa, state of Guerrero,
Tornados del Norte has played in restaurants
and clubs in Washington, D.C., Richmond, and
members are from northern Mexico. Instead Norteño has shared the stage with Ninel Conde, Contact: Leonel Hernández, Director
they are from different countries like El Salva- and they love to entertain their public. The band 301-404-6584
dor, Guatemala and Mexico, but they love play- currently has a CD called Con todo el corazón
ing norteña music. Corazón Norteño has played (El charco).
Triunfadores del 4
in Mexico Lindo restaurant and in the Cinco de
Mayo Festival in Baltimore.
The band is composed of five members: José
Guadalupe, bass; Santos Elmer Contact: Marcelo Ramírez
Villalta, accordion; Manfredo Lu- 571-291-3547
cero, electric bass; Eliceo Ramír-
ez, drums; and Marcelo Ramírez,
corazonnorteno@live.com
www.myspace.com/Corazon_norteno2008 F ounded in
Michoacán,
México, Triun-
fadores del 4
has played in
Rock
The cultural influence of the U.S. on Latin America is pervasive. Disney,
Hollywood, TV shows, styles and fads, all percolate south. It’s
hardly surprising then, even if not generally known in the U.S,
that rock and roll is firmly established south of the border,
including in Cuba. Rock musicians everywhere are
known in Spanish as rockeros.
Latin rock can be closely derivative of U.S. and
also European rock, down to the look and
stage action of the bands, but it may also
incorporate domestic themes, instruments,
and genres, as well as reggae, ska, West
African, and other genres that were born
outside of the U.S. and Europe. Aside from
local and “world music” versions, the range of
Latin rock is as broad as that which is played
elsewhere: R&B, pop, heavy metal, punk, techno,
and so on—even emo.
The bands in this directory are representative of
the current directions of Latin rock. Some of the
Washington-area band members began playing in their
home countries and later emigrated here.
All of the rock bands listed here exist in myspace.com, but
only one has a separate Web site. Contact information for the
bands may be available at their respective myspace.com sites;
registration in myspace is required to enter. You may also find
further information at www.Latinorockfest.com.
Rigth: Singer-songwriter
Daniel Gómez Botta
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AkerOn Botta
Melodic richness, lyric content and
mature song structure make Musical Tips
Pedazos de mí en el tape Botta’s best album yet
S inger-songwriter Daniel Gómez Botta, originally from Venezuela, grew
up listening to his father’s record collection of songwriters such as Pablo Mexican rock
Milanés, Joan Manuel Serrat, and Silvio Rodríguez. Fascinated by their developed in parallel
melody and eloquence, Botta wrote his first song when only eight years to Chicano rock in the
old. Later, Botta was influenced by the sounds of Seattle’s grunge (Alice U.S. The first Chicano
in Chains, Pearl Jam, Soundgarden, Nirvana) and the Latin rock of Soda rock star was Richie
Valens, or Richard
Stereo, as well as British pop-rock bands such as The Cure. Steven Valenzuela,
In the mid-90s Botta was the front man for La Matriz del Sistema (even- who was born in Los
tually Papas Underground), playing the D.C./Va./Md. circuit and sharing Angeles and achieved
the stage with many local and international acts. fame with the hit La
After releasing two records with La Matriz, Botta`s academic goals took Bamba, an adaptation
of a son jarocho
him to the prestigious North Carolina School of the Arts, where he pursued from Veracruz. His
and obtained a degree in Sound Design and Engineering. During this pe- stardom lasted only
riod he released two independent records, Humano (1998) and Resurrection eight months, ending
Our City
ams. Melodic richness, lyric content and mature
song structure make Pedazos de mi en el tape bottamusic@gmail.com
Botta’s best album yet. www.bottamusic.com
Left: Georgetown
University
(towers, left),
Freddy Fender, author of country music hits in the U.S. such as “When the Next Teardrop
Key Bridge, and
Falls” was born Baldemar Huerta, a name not likely to advance his career on the Texas
Georgetown
photo: MAURICIO BENAVIDES
Filtro
Filtro is now a familiar name in
Musical Tips the Latin rock scene of the Washington area
Kaótica
is also a force in
South American
countries such as
Chile, Colombia, and
Venezuela, which
are more influenced
by European rock
than is Mexico.
Among the bands
T he word Kaótica derives from chaos–the
confused, unorganized condition or mass
of matter before the creation of distinct and or-
that have built
derly forms.
followings within
the U.S. are the Although chaos is usually associated with
Mexican Maná and negative circumstances, Kaótika proves this rock bands in the D.C. area. One of their most
Café Tacuba, and,
earlier, the Argentine
Soda Estereo, now
T his band from Springfield started out in a very peculiar way in 2003, jam-
ming on Andean rock music. After months of rehearsals and a change
of line-up that took them in a different musical direction, the band began to
conception to be wrong. “We have to remem-
ber that there is chaos in every aspect of this
world, in every human life…it’s part of our
important performances so far has been opening
for Vilma Palma at the State Theater in Virginia.
"We feel very fortunate to have taken our first
dissolved.
experiment with their musical backgrounds and influences, which were a existence”, says Aracelly, “but it is from this step with such a huge opportunity that not many
mix of hard rock, metal and grunge, and that led to the birth of Filtro. It's a same chaos that high passions are born. Our beginner bands have, we see it as an encourage-
sound of heavy and hard guitars with metal, punk and hard-rock rythms led passion is music and this is the message we ment to work harder and give only our best.”
by strong lyrics that speak about social issues and personal experiences. want to send.” With many aspirations for the future, Kaóti-
Filtro has had a few changes on bass, but now Julio, Javier, Luis and Ed All five of them, four born and raised in Bo- ka’s dream is to create music that inspires mul-
keep writing original material that is influenced by the different musical livia and one in Peru, met in the U.S. United by titudes to identify themselves with their songs.
backgrounds of each member, ranging from Led Zeppelin, Black Sabbath, the same dream, they decided to form a Latin Each song grasps a moment of their past, present
G n' R and Nirvana to R.A.T.M., Audioslave, Chevelle, Korn, Molotov, Soda rock band in 2006. Since that day they have and future. “Every one of us is a very important
Stereo, Metallica and more. devoted themselves to finding their unique mu- element to what Kaótika is at this moment, and
Filtro is now a familiar name in the Latin rock scene of the Washington sical sound...and, with much success, they have we never want this to change. What we want is
area, having performed in many venues of Virginia, Maryland and D.C., and found it! for people to interpret chaos (Kaótika) the way
is also part of the annual DC Latin Rock Festival. Every one of their presentations carries that we do, as a positive element of our lives and
Filtro is classified by their fans as having a "loud, strong, and unique" one element of originality that has character- better yet, learn from it just as we do through
sound. ized them from the beginning. Today, Kaótika is our music”.
www.myspace.com/filtrorock recognized as one of the most successful Latin www.myspace.com/kaotikamusic
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Reynolds
www.myspace.com/sinkontrolados
The Sessions
W ith members hailing from Argentina, Guate-
mala, Bolivia and El Salvador, the groovin’
fusion is inevitable. Their original style contains
elements of ska, reggae, rock and various Latin
rhythms with lyrics in both English and Spanish.
The Sessions has been pounding the pave-
ment for the last year in the Washington area,
playing at popular latin rock venues and events,
always attracting a crowd and gaining new fol-
lowers due to their energetic live performances
and extremely dancable tunes. Jose Ekonomo’s
versatile guitar skills, combined with Ricardo
Varrenti’s infectious bass lines and a fantastic
rhythm section that incorporates bottom-heavy
drums and Latin/Caribbean percussion make up
the Sessions “sound”.
www.myspace.com/sessionsdc
Versus
Versus filters influences from early pioneers of
"rock en español" to modern hard rock
T he new Washington area's own Versus has a
sound as eclectic as the area itself. With a music
style that could find a home as easily with The Foo
Fighters as with Smashing Pumpkins, Versus filters
influences from early pioneers of "rock en español" to
modern hard rock—punk through their own unique
vision and perspective. In doing this they achieve a
sound distictly their own, a sound that people from all
walks of life all over D.C. are discovering. From the
harder edge of their rock songs to the rolling melodies
of their more traditional music, the sound of Versus is
one that warrants attention.
www.myspace.com/versusdc
Clube do Samba
Samba Created through the mixing of African
and European music and dance, Musical
todayTipsone
Brazil borders on most of the countries of South America. The
main language spoken there is Portuguese, not Spanish, but that of the most popular forms of music in Brazil
does not keep Brazilian music from being a major influence
in the region. As far north as Mexico, visitors to public
The claves are two
squares known for strolling musicians, like Garibaldi Plaza wooden cylinders
in Mexico City and the main plaza of Veracruz, will find held lightly in the
hands and struck
batucadas performing alongside the mariachis and together to set and
norteñas. keep the beat. They
must be made from
Among Brazilian genres, samba, the queen of carnival, hardwood in order
to produce a clear,
stands out. And how could it not? It represents hot- piercing, sound.
weather fun, costumes, and collective dancing in the In colonial times,
ship builders used
streets. hardwood staves,
Samba groups in Rio de Janeiro, known as scolas rather than metal
fasteners, to hold
(schools), practice and prepare all year for the a ship's timbers
competition held during carnival, but samba fever is together. Havana,
a major port for
hardly limited to that city, or, indeed, to Brazil. Spanish commerce,
In the Washington area, samba is performed by was full of such
staves that served
Brazilians and admirers of the genre who live here and as clavos (nails). The
claves were born
who, even in winter, reproduce the irresistible experience when musicians
born in Brazil from African and European roots. working on the
docks discovered
C lube do Samba brings old- and new-school samba music to the Wash-
ington area since late 2007. The band's members are all friends with
a common passion for samba, having played informally at parties and jam
the usefulness of the
wooden cylinders for
keeping a beat.
DC Passistas
The group represents Brazilian culture but brings
together individuals of various ethnic backgrounds
Sambart Entertainment
F ormed in 2006 under the direction of Sao
Paulo native ZeZeh, a talented and well-
D.C. Group members reflect the Center’s holistic
message of wellness and freedom of movement.
F ounded in 1992, Sambart Entertainment
emphasizes the cultural traditions of Brazil
through colorful, elegant costumes, traditional
ate exotic dancers dressed in authentic Carnaval
costume give an elegant taste of the cultural fla-
vor that is Brazil.
known samba dancer, the DC Passistas are made Incorporating this message, the group represents Brazilian food, percussion music, and exotic Sambart Entertainment’s sambistas (samba
up of a diverse group of talented sambistas that Brazilian culture but brings together individuals high-spirited dance. Since its inception, Sam- dancers) have performed their folkloric dances
bring together a unique “Brazilian heat” in the of various ethnic backgrounds, such as Caribbean bart has been dedicated to promoting Brazil- locally and nationally at numerous theaters and
greater metropolitan area. and South American, which allows the group to ian culture and Carnaval throughout the United auditoriums, such as the Marcus Theater on
Specializing in samba, Afro-Brazilian, and axe, embody this revolutionary dance. States and the world. Broadway, NY, the Kennedy Center, and Wolf
DC Passistas ground their dancing in balance and D.C. Passistas have enjoyed performing in Sambart Entertainment was founded under Trap; military bases such as Fort McNair and
happiness. Through shake, shimmy, and personal multiple venues throughout the Metropolitan the artistic leadership and direction of world- Fort Meyer; festivals; carnivals; parades; embas-
flair, each dancer brings individual moves to ex- D.C. area that include Brazilian parties, various renowned dancer and choreographer Sonia sies; restaurants; hotels; and private functions.
press freedom through the dance of Samba. cultural events, and festivals. Pessoa. Her personally-choreographed samba 301-335-6474
DC Passistas have made their home in the studio jcgamble@gmail.com shows bring a flamboyant Carnaval atmosphere sonia@sambart.com
of the Mamasita Cultural Center, located in Takoma, www.gomamasita.com to any manner of event, large or small. Passion- www.sambart.com
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El día que me quieras
Tango
Enrique Santos Discepolo
Acaricia mi ensueño
el suave murmullo de tu suspirar,
¡cómo ríe la vida
si tus ojos negros me quieren mirar!
Y si es mío el amparo Tango was born at the end of the 19th Century and the
de tu risa leve que es como un cantar, beginning of the 20th, when Buenos Aires was growing
ella aquieta mi herida,
¡todo, todo se olvida...! rapidly due to the influx of European immigrants—mostly
Italian and mostly men—and of workers of all kinds from the
El día que me quieras
la rosa que engalana countryside, including free Africans. As immigrants to Washington
se vestirá de fiesta do today, they sought solace and entertainment in small and
con su mejor color affordable clubs, or wherever a few musicians could improvise a
Al viento las campanas
dirán que ya eres mía diversion. The mix of ethnicities and cultures produced a new sound
y locas las fontanas that was accompanied by a new dance.
me contarán tu amor.
La noche que me quieras Neither the music nor the lyrics nor the dance, nor the places where
desde el azul del cielo, tango first was played and danced, enjoyed a good reputation
las estrellas celosas
nos mirarán pasar at the time. Still, it was becoming too good to miss. The upper
y un rayo misterioso classes discovered it, and it made its way to Paris, where it became
hará nido en tu pelo, a sensation. It returned to Buenos Aires with the imprimatur of the
luciérnaga curiosa
que verá...¡que eres mi consuelo...! City of Light, triumphant in its home country.
Tango spread to New York and other capitals. Movie studios
Recitado:
El día que me quieras produced musicals and stars, in particular Carlos Gardel, who is still
no habrá más que armonías, mourned in Latin America after his death in an airplane accident
será clara la aurora in 1935. The tango survived Gardel’s death and the censorship
y alegre el manantial.
Traerá quieta la brisa of a military government, reached a peak in the 40s and 50s,
rumor de melodías and then declined, in competition with newer styles of
y nos darán las fuentes
su canto de cristal. music. Later, in the 70s, it was revived again, this time as
El día que me quieras an experimental fusion with jazz and rock and chamber
endulzará sus cuerdas
el pájaro cantor, music, best known today through the work of Astor
florecerá la vida, Piazzola, who lived while young in New York, became
no existirá el dolor... fascinated by the electronic-sounding musique concrète
La noche que me quieras of the 1960s—a kind of early sampling of sounds made
desde el azul del cielo, possible by the tape recorder—and considered pursuing a
las estrellas celosas
nos mirarán pasar career in serious rock before taking his friends’ good advice to
y un rayo misterioso play what he knew best.
hará nido en tu pelo,
luciérnaga curiosa The new tango shocked the traditionalists but gave new life to the
que verá...¡que eres mi consuelo! music. It lives on, paired with its rural-born relative, the milonga, as an
photo: PONTITANGO
expression of sophisticated big-city night life.
Fiesta DC’s Fiesta DC’s
118 Special Genres Back Latino Cultural Guide Latino Cultural Guide Next Special Genres 119
Pontitango QuinTango
His curriculum includes many performances at A unique chamber ensemble dedicated to the musical performance of tango, QuinTango is in-
pired by the Argentine orquesta típica—the classic tango orchestra of violins, bandoneons,
embassies and diplomatic venues in Washington bass and piano. QuinTango brings its own interpretations to this evocative music, universally syn-
onymous with the eternal dance of man and woman. QuinTango's first compact disc was released
in November 1998.
I n 2004 Ponti Del Mercado met director/pro- Diana Montero participated in the movie The Tan-
ducer Francis Xavier and participated in his go Dancer, directed by Francis Xavier, showing at
TV commercial for Gardel's Super Club, shown the Charles Theatre in Baltimore.
QuinTango's recent performances include appearances at the White House, John F. Kennedy Center
for the Performing Arts, Embassy of Argentina, Martin Luther King, Jr. Library, Prince George's Com-
munity College, Mexican Cultural Institute, Phillips Collection, Corcoran Museum, George Meany Cen-
on Fox TV. In early 2005, again as a tango danc- As a performer he has participated in numer- ter, U.S. Department
er, he opened the second "Night Cry" series ous festivals, among them the annual Argentine of State, Smithsonian
with his dance Festival of Tango Institution, and lo-
partner and long- in Virginia. He cal cable television,
time friend Zuli helped to raise as well as Borders
Russi. In June founds for groups Books and Music.
of the same year like the Hispanic Q u i n Ta n g o ' s
they both traveled Scholarship Fund unique arrangements
to Buenos Aires of Maryland. present tango in its
and performed His curricu- many guises: El Cho-
in La Boca at the lum includes clo and La Cumpar-
world-famous performances at sita, two of the earli-
Caminito. various embas- est tangos to enter the
In 1999 he sies and diplo- permanent interna-
performed at Wolf matic venues in tional repertoire; the
Trap, for the an- Washington, such tango songs of char-
nual fund-raising, as the Russian ismatic singer Carlos
which had Argen- House, the em- Gardel (Mi Buenos
tina as its main bassies of Argen- Aires querido, Por
theme. The same tina, Uruguay and una cabeza); from the
year he hosted Finland, and arts Golden Age, the classic tangos A media luz and Adiós muchachos; the virtuoistic milonga Taquito mili-
a tango show in and performance tar and equally energetic tango Canaro en París; and Julio Sanders's Luna de arrabal, a tango waltz of
Washington, D.C. venues. melancholic charm.
at CocoLoco Restaurant, "Tango with Ponti and In late 2002 Ponti decided to withdraw tem- The Nuevo Tango of Astor Piazzolla is represented by Libertango, Oblivion, Soledad, and Río Sena.
Friends", a tribute to his mother. The following porarily from the stage to pay tribute to a dear The poetic tango compositions of Uruguayan composer and bandoneonist Alejandro Muzio, several of
year, he brought his art to Miss Latina USA 2000. friend who died suddenly, leaving many in which were composed especially for QuinTango, are contemporary highlights of the group's programs.
In 2002 he launched his first CD, Estrellita del Sur, mourning. Ponti has since returned and is leav- The boleros, No No No No and Entre Sombras, represent the lush romanticism and irresistible dance
a compilation of Argentine tangos and Peruvian ing his footprints everywhere he dances… rhythms of the Latin music craze which followed tango's rise to international stardom.
valses produced and recorded in Lima, Peru. The magic of QuinTango's anecdote-laced performances has turned local music-lovers into tango lovers,
In April 2006 he performed with Zuli Russi and tango lovers into QuinTango lovers. When QuinTango takes the stage, the lights dim...the pulse quickens...
in the gala event "Dancing with the tango begins. Discography includes: QuinTango
Contact: Ponti Del Mercado Contact: Joan Singer
the Stars" at The Garrett-Jacobs 703-866-5459
Live! (¡en vivo!) (2005); To Buenos Aires with Love, 703-548-6811, 571-241-7683
Mansion in Baltimore. In June, pontitango@yahoo.com QuinTango (2003); QuinTango—Secret Places joan@quintango.com
Gino Cazalle and Zuli Russi as www.geocities.com/pontitango/pontitango.html (2000); QuinTango (1998). www.quintango.com
Fiesta DC’s Fiesta DC’s
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and Margarito Estrada, among other greats of made a life-changing decision to During the next couple of
Mexican music. leave home and move to Brazil years, she began to teach pri-
One of her most important achievements in to pursue her dream of becoming vately under the auspices of her
the U.S. is to have been selected as a national- a dancer at the Sao Paulo Dance dance partner at the time Jim
level finalist in the Fifth Mariachi Festival. Her Company. For two years, Cecilia Johnson. Her instruction has in-
charisma and unique voice have won her plau- Contact: Ángela Miranda trained full-time over 40 hours a volved more than 1,200 students
dits, the support of the media, and the recogni- 202-290-8559 week, specializing in tango, sam- over the last four years. By re-
www.rumian2002@hotmail.com
tion and affection of the public. ba and cha-cha before she was quest, she also instructed three
awarded one of the lead dance days a week at various dance stu-
positions in a 50-member dance dios, nightclubs and restaurants.
Cantaré
company. During her last three Since 1998, the dance group
years with the company she taught at the Salvador has performed all over the world with overwhelm-
Dance School, participating in the South Ameri- ing success, as well as locally at venues such as the
can tours Tango Passion, Danzando, and Samba Millennium Stage at the Kennedy Center, Balti-
The chacarera,
a rhythm from
Daniel Salazar Dayan Aldana
northern Argentina,
is popular in the
region known as the
Distinguished composer, singer, producer, Singer, actress, TV spokesperson
Chaco, shared by
Bolivia, Paraguay,
director and host for a variety of artistic events and radio personality
D D
and Brazil. At its aniel Salazar is a proud son of Quetzaltenango, Guatemala. He has ayan Aldana was born in Chiclayo, Peru, but brought her love of
heart are guitar
and bombo (drum),
been writing and singing his own songs since he was fifteen years old. music to the United States when she realized that her passion and
supporting the He began his career as vocalist of a rock group, “Los Terribles de Xela.” desire was to share her roots with the world.
melody played Today he lives in Maryland, Dayan has collaborated and toured with musicians such as Eva Ayllon,
on violin. They where, aside from making his Edith Barr, Cecilia Barraza, Pepe Torres, Oscar Cavero, Manuel Ercilla,
are accompanied own music, he also produces “Tito” Manrique, and Lucho Montalvo, and with groups from many
percussively by
hand claps and the
for other local artists and acts different backgrounds as well.
accented footwork as artistic director, host, and She has had many great honorary opportunities to perform in
of the male dancer, director of events, and in other Washington, Miami, New York, New Jersey, Delaware, and Virginia,
typically in tall entertainment roles. His lyrics including an invitation to sing and interpret the National Anthem of
boots, in contrast have been sung by renowned Peru at the White House.
to the female, who Contact: Dayan Aldana
makes her skirt
artists like Elizabeth de Gua- Aside from singing and from acting with Gala 703-928-3950
swirl. The dancers, in temala, Mónica José, Lupita Theatre, she also is known as a spokesperson for dayanaldana@gmail.com
couples, spin around de Guatemala, Gloria Marina, Univision TV and a radio personality. www.dayanaldana.net
themselves and each Aura Molina, Rosa Fernán-
other, arms held dez (Spain), Rubén Rodríguez
high.
(México) Grupo Fuego de los
Angeles, Arcángel de León,
Juan Ríos (El Salvador), and Join us!
Roberto Rey (Guatemala). For more
Some of his most famous inform
or visit ou ation call us Tel: (2
r web pag
songs are Ven a cantar conmi- e: www.fid 02) 483-8900
mi-mitierr
go, Payaso Loco, Halcón ves- a.org
tido de gorrión, Balada para un cantante, and La furia, which was recently
recorded in Los Angeles. He has appeared on national TV shows on three
different channels in Guatemala, and also on local TV channels in different
cities in the United States. His artistic career has taken him on tours cover- a place to share and to remember
ing all of Central America, Spain, Portugal, Colombia, Dominican Repub-
lic, Puerto Rico, Uruguay and Mexico, where he performed at the Club “Mi Tierra Market” a multicultural and family marketplace of nostalgic products, arts
Rioma, a venue previously owned by the late Mario Moreno “Cantinflas.”
and crafts located at the Unity Park between Champlain St. and Columbia Rd., just at
Daniel has been a distinguished guest of the jury of important events like
the OTI Song Festival of Honduras and the Miss Costa Rica pageant. the heart of Adams Morgan in Washington D.C.
His work has been featured in different English- and Spanish-language weaves
publications like Vanidades, Vistazo Internacional, Cosmopolitan, TV tam a le s ce ram ic s to rt ill as
Guides of some cities around the United States, and the Miami Herald.
le at h e r mu sic
Forthcoming appearances p u p us a s
Contact: Daniel Salazar p ai n t ng
e n ch il ad a s
include Celebrity Center, Jade
Theater, and the Guatemalan 202 528-7782 s
@ correcto105@yahoo.com FONDO INTERNACIONAL PARA EL DESARROLLO DE LOS MIGRANTES
Telethon, all in Los Angeles.
Fiesta DC’s Fiesta DC’s
132 Solos and Duos Back Latino Cultural Guide Latino Cultural Guide Next Solos and Duos 133
Eileen Torres
Her articles have been published in the magazines
anticipated dance shows.
She has worked with the National Council of
La Raza, HACR (Hispanic Association on Corpo-
rate Responsibility), Latino Sports Ventures, ZGS
versity's first Ballet Folklórico. She toured for
two years with The National Chicano Dance
Theater based in Denver, Colorado. She served
as instructor and choreographer for Alma de
Communications, and Latina Style Magazine. Mexico and founded and choreographed for
Latina Style, Latin Beat, Latin Vibes, She is an alumnus of National Hispana Leader-
ship Institute and has served as a consultant to the
the dance team, Salseros Unlimited, both in her
hometown.
Latin Music and Bravo! National Hispanic Corporate Council.
Eileen began performing Mexican folk dance
Contact: Eileen Torres
410-551-1546
key figure in the Washington salsa community, of the Anna Maria Arias Memorial Business
Eliar Franco
she is the current president Fund Award. She was award-
of the DC Salsa Network, a ed $5,000 for the unique
group that exists to promote scope of her business. She
cooperation and communi- is perhaps the only woman
cation between salsa lead- in the world who promotes,
ers. She began offering salsa
dance instruction in 1976
produces, instructs, lectures,
writes, choreographs and en-
Eliar has around 50 songs of his own, of which
in her hometown of Lorain,
Ohio.
gages artists. In June 2008
Ms. Torres received the First
one has become very popular: ¿Por qué?,
Ms. Torres, president
also of Eileen Torres Pro-
Annual Jose Ruiz Lifetime
Achievement Award. During
which talks about the lives of immigrants
ductions, a salsa music and
dance entertainment com-
pany, has built a full-time ca-
that month she was inducted
into the Salsa Hall of Fame
and received another Life-
E liar Franco was born in Guatemala. Coming from
a poor family, he had the opportunity to study mu-
sic in Quetzaltenango and later went to the National
reer based on her knowledge time Achievement Award Conservatory of Guatemala.
of and passion for salsa, be- from peers and colleagues His interest in music was shown as early as six years
coming one of a handful of within the Stuck on Salsa of age, when he started playing his father’s guitar at
women making a living within the salsa indus- Promotions and Publishing group. church. Noticing his talent, people would ask him to
try. Her work includes promoting Salsa Nights Current and past clients include The Ken- sing for twenty-five cents a song. He moved to Mexico
at D.C.-area nightclubs, producing dance shows nedy Center, Smithsonian Institution, National looking for a future in the music world, but in 2004
and recognition ceremonies, fulfilling speak- Geographic Society, The Pentagon, D.C. Com- he traveled to New York and later to the Washington
ing engagements as a salsa historian, providing mission on the Arts and Humanities, Morgan area, where he now performs in restaurants and other
dance instruction, writing articles for magazines, Stanley, Salsa Conferences around the world, venues.
and booking bands, disc jockeys and dancers. and scores of others. He has made presentations in Takoma Theater for
In 1998, Starbucks Coffee Company con- Her articles have been published in Latina television. He has also been side by side with artists
tracted her to collaborate on the Latin compi- Style, Latin Beat, Latin Vibes, Latin Music and like Jimena, Los Tigres del Norte, Leo Dan, Marco An-
lation CD titled Mambo Mío. She assisted in Bravo! magazines. She has been voted Salsa tonio Solis, Alvaro Torres, Ozzomatli and Angela, “La
the selection of the music, wrote the liner notes, Metro’s Promoter of the Year four times. voz ranchera” of the area.
and composed a paragraph on each artist. In 2002 Ms. Torres created Tribute to Wom- Eliar has around 50 songs of his own, of which one
She received the Andy Award for her work en in Salsa, Tribute to Men in Salsa, and Tribute has become very popular: ¿Por qué?, which talks about
as a salsa historian and producer of salsa events to Salsa Choreographers. The ceremonies rec- the lives of immigrants. Contact: Eliar Franco
during the 2002 World Salsa Congress in Puerto ognize those that have made contributions to His goals are to travel far with his music and 540-664-0160
Rico. In 2005 she was presented with a Siempre the salsa community and are followed by highly to sing positive messages to humanity. www.myspace.com/eliarFrank
Fiesta DC’s Fiesta DC’s
134 Solos and Duos Back Latino Cultural Guide Latino Cultural Guide Next Solos and Duos
Musical Tips 135
T
the Dominican
he group is normally composed of four or sional music system and DJ for danceable mu- Republic, is of
five musicians, but the number of perform-
ers can be adjusted according to the client's
needs. Los Primos present variety shows with
sic following their live presentations.
FrankoJazz
and creating a strong family. In 1971 she accepted generally
in its native country
lost her beloved husband, bringing her sing-
until the late 1900s
ing career to a sudden halt. and the arrival
In 1990 Graciela met a musician, Miguel Cha- of electric bands
FrankoJazz covers a spectrum from Spanish caltana, who gave her much inspiration and moti-
vation to pick up the pieces, bringing back her pas-
and the new-style
bachata rosa. Juan
and African rhythms to jazz sion for music. Quickly they decided to collabo-
rate and to bring in Francisco Vega, her eldest son.
Luis Guerra took
the bachata rosa
worldwide with his
Javier Julián
struments like bass, guitar, and
percussion. He handles vo-
cals, and is also a song writer.
Julian is a talented drummer
who also sings, and speaks flu-
ent English and German.
FrankoJazz covers a spec-
B orn of Dominican parents in the Dominican Republic, Javier Julián
spent most of his teenage years in Puerto Rico before moving to Wash-
ington, where he would discover his talent and restlessness for music.
trum from Spanish and African Beginning in area karaokes he gained recogni-
rhythms to jazz. The band has tion of the artistic abilities that would open doors
shared the stage and sometimes for him, leading to offers to debut in festivals of
sings together with Tito Torres, the metropolitan area. These served as a bridge Juan Luis Guerra.
"The Charro of Cuscatlán.” to other local events, where he was acclaimed by
FrankoJazz has performed at the Fiesta the press and television as a breakthrough young
DC festival and at the Ronald Reagan Inter- artist of Washington.
national Trade Center. Franko also performed This has given Javier Julián the luxury of
at William Clinton's presidential inaugural in taking a walk with Sergio Vargas (whom Javier
1996. FrankoJazz has a CD titled "Stop Run- calls "my father" for being his musical inspi-
ning, Dad." ration), Alvaro Towers, Monchi & Alexandra,
Contact:
Frankie Negrón, Olga Tañón, Manicomio, Toño
Frank Agbro, Manager
202-415-4512 Rosario, Gilberto Santarosa, Tego Calderón,
frankojazz@frankojazz.com Amarfis, Aventura. Javier Julián writes and Contact: Javier Julián
www.FrankoJazz.com composes his own songs. www.myspace.com/iamjavierjulian
Fiesta DC’s Fiesta DC’s
136 Solos and Duos Back Latino Cultural Guide Latino Cultural Guide Next Solos and Duos 137
Jennifer Blackman
She directs the Trinidad and Tobago
José Reyes
Association choir of Washington J osé Reyes is an example of triumph in our
local community. Coming from El Salvador
in 1974, he is now the owner of two successful
Jorge Anaya
José Reyes is also known for his generosity jose@eltamarindo.com
in helping children in need in Latin America. www.joseireyes.com
Itumiray
He is a truly talented musician who can
remember and sing more than 1,000 songs
J orge Anaya began performing in public at the
age of eight. With his guitar and music he
loves to share his talent with the public. Among T hree talented musicians from Bolivia form this original and wonderful-sounding Andean music
band. Combining traditional music and instruments with modern instruments and the latest
his achievements are winning Second Place in technology, the band achieves a beautiful mix for the joy of its listeners.
the OTI (Organización de Televisión Iberoamer- Itumiray's work also includes the most classic love songs from around the world, performed with
icana) song festival, receiving an award for his the beautiful sound
music from the Salvadoran government, and of the bamboo pan
performing at the presidential house of El Sal- flute. The main
vador. He has shared the stage with Jose Luis activity of Itu-
Rodríguez and Nicaraguan folkloric singer Car- miray since 1998
los Mejía Godoy. has been to attend
Jorge has two CDs. The first, Canciones de festivals around
Jorge Anaya, contains ten original songs. The the east coast, one
second, Canciones infantiles, is accompanied reason why it be-
by two videos to teach infants how to speak came one of the
Spanish. He also performed in a charity con- preferred Andean
cert to collect funds to help the victims of the music bands in the
Julio Cazón. Angel Peñaranda. Beto Cabrera.
earthquakes during 2001 in El Salvador. country.
For those who have known him for years, he The band includes Julio Cazón, founder of Itumiray and also a virtuoso wind pipes player; An-
is a truly talented musician who can remember gel Peñaranda, experienced and talented player of stringed instruments (acoustic guitar and char-
and sing more than 1,000 songs, including some ango); and Beto Cabrera, who combines all the instruments (bass guitar, electric guitar, keyboards,
that have already disappeared in some countries drums, etc...) in only one experienced musician.
Contact: Julio Cazón, Director
and cities. Itumiray has recorded six CDs. The last three 703-971-9749
Contact: Jorge Anaya Cds were recoreded in the band’s own studio. juliocazon@yahoo.com
301-892-2600 www.itumiray.com
Solos and Duos
Fiesta DC’s Fiesta DC’s
Musical
Solos and Duos Tips
138 Back Latino Cultural Guide Latino Cultural Guide Next 139
J
are spoken in
uan Carlos Molina was born in Guatemala in 1967. second record, his trib- Colombia . When
He moved to Los Angeles when he was 12 years ute to Ricardo Arjona, a the Spanish began
old and two years later relocated to Silver Spring, Md. project that will include a to colonize the
Juan Carlos is Vice-President of Mason Dixon Fund- video, 14 songs of Ricardo territory, the main
northern chiefdoms
ing, Inc., a local mortgage company, and a real estate Arjona and three new piec-
were the Tairona,
agent with his wife Mónica Molina. es written by a well-known Muisca, and Zenú.
He began singing in 2005. A great admirer of his Argentine composer. Juan Carlos met Ricardo Arjona Other cultures that
fellow Guatemalan Ricardo Arjona, he has gained the in person last year in New York. They exchanged mu- had existed for
nickname of “The shadow of Ricardo Arjona.” Juan sical materials, and Juan Carlos gave Arjona his first hundreds of years
and lasted until
Carlos has performed in events like “Hispanics sup- production, Sueños.
around 1600 were
porting Hillary Clinton” and at local restaurants like
Mari Paz
Contact: Juan Carlos Molina the Late Quimbayá
Lima Restaurant and Lounge in Washington. He 301-257-4654 and Sonso in
plans to travel to Argentina for the production of his cmolina@masondixon.com the central zone
and the Late San
Karisma
Agustín, Popayán
and Nariño in the
She was one of 12 pianists selected to give southwest. Today,
about 2% of the
lecture concerts for the Smithsonian
K arisma was created in Colombia in 1990 by Gio- entertainment at all kinds of social events.
vanny Romero, who has taken care to develop Karisma is made up of two voices, feminine and
musical presentations to meet all cultural tastes, es- masculine, with accompanying instruments such as Institution's Piano 300, a celebration
population is
indigenous, although
there has been a
substantial mixture
pecially Latin American genres, as well as traditional piano, guitar, small percussion, and high-octave flute.
Colombian music for events of a cultural character. The latter is the result of Giovanny Romero's inven- of the 300th anniversary of the piano of races and cultures
in the country.
The duo has a long history and broad experience in tiveness in order to produce the right tonal shades for
Latin American music. Karisma has played through- Colombian folk music.
out South America, several European countries, Contact: Giovanny Romero
M ari Paz was influenced by her uncle, maestro Rodrigo Prats, a composer
and director and one of the three most important figures in Cuban lyrical
music, in particular as a composer of zarzuelas, musical pieces for the stage.
and the U.S., especially in New Jersey, Vir- 703-899-9238 She received a degree in piano arts from Havana's Conchita Espinoza Conserva-
ginia, Maryland and D.C., offering musical giovannyromero730@hotmail.com tory, and then continued her studies in Mexico City with renowned artists such
as Mario Ruiz Armengol, Roberto Pérez Vásquez, and Vicente Garrido.
Lupita Ramírez
Her training and broad experience have made her invaluable as a pianist,
arranger, and musical director in the Washington area for many years. She
has been a featured artist in GALA Theatre productions such as Raíces Cu-
A recipient of Colombia's Living Abroad Award 2006, given to Colombians who have distin-
guished themselves outside of their native country, classical guitarist Nilko Andreas Guarín
graduated magna cum laude from the Manhattan School of Music in New York.
danced for 5 years with one of Cuba’s premiere
folklore companies, Compañía JJ. Since leaving
Cuba in 1997 Rousseaux has traveled across the
He began playing cello at the age of seven at the National Conservatory of Colombia, eventually Americas and Europe, perfecting his art, mas-
finding his true love in the classical guitar, which he studied with Ramiro Isaza. He also studied tering the batá drum, and developing a subtle
Colombian Music at the Bogotá Academy of Arts with Jorge Sossa and Néstor Lambuley, while awareness of the folkloric roots common to all
complementing his guitar studies under the tutelage of Gentil Montaña. countries of the Americas.
In 2000 he was After arriving in the DC area in 2003, Rous-
awarded a merit seaux rapidly gained fame on the local arts
scholarship at the scene, not only for energetic and invigorating
Manhattan School classes but also for colorful, engaging cho-
of Music in New reographies and charismatic performances.
York City, where Rousseaux received kudos as Artistic Director
he studied classical of AshéMoyubba, a group he made one of the
guitar in the studio community’s most promising young perfor-
of David Leisner, mance ensembles.
composition with That promise is now being realized by Alafia
Drs. Reiko Fueting Dance & Drum, which performs a broad reper-
and J. Mark Stam- Contact: Johanna Rousseaux toire of Cuban folklore and is lauded as much
baugh, and orches- 202-997-9121 for singing and live percussion as for dancing.
tral conducting with sonurbano@msn.com
alafiadance.spaces.live.com
Paul Brantley.
As a soloist
and chamber mu-
sician, Nilko An-
Our City
photo: JOSE SANCHEZ
dreas has given
numerous recitals
in the US and Co-
lombia, receiving
various accolades and appearing at renowned venues such as Merkin Hall, Symphony Space, Co-
lumbia University, Princeton University, Colombian consulates, the Colombian Civic Center (for
which he composed the organization's hymn), the James Memorial Chapel, Columbia University,
the Church for all Nations, Mannes School of Music, Peter Norton Symphony Space, the Midtown
Guitar Seminary, the United Nations, Lincoln Center, Summer Stage, Merkin Hall, the New Vic-
tory Theater on Broadway, and Steinway Hall.
Recently he performed at the Smithsonian Museum in Washington. Andreas has also performed for guitar
greats such as Manuel Barrueco, Eliot Fisk, Sharon Isbin, Roland Dyens, Ricardo Cobo, David Russel, and
David Starobin, among others. Most recently, Andreas was invited to perform alongside master pianist
Contact: Nilko Andreas Harold Martina at the
www.nilkoandreas.com Museum of Fine Arts Right: The gate
to Chinatown in
www.myspace.com/nilkoandreas in Houston, Texas. downtown Washignton.
Fiesta DC’s Fiesta DC’s
142 Solos and Duos Back Latino Cultural Guide Latino Cultural Guide Next Solos and Duos 143
R ichard Miller was born in Rio de Janeiro, Two years later, wealth of material
Brazil to an American father and a Brazil- Salvadoran group with different MCs
Izalco titled its first
ian mother and moved frequently between Bra- record "Going
around the world.
zil, the U.S., and Puerto Rico. Home." Laya, a V-Masta's music
He has become well known in the Washing- folkloric Andean reflects a variety of
ton area for his performance of both classical band, released “A cultures and influ-
guitar music and popular Brazilian and Latin Time to Dream” in ences, from reggae-
1977.
American music. As a classical guitarist he has dancehall all the way to to hard-core hip-hop, creating a new style called
appeared in such places as the Brazilian-Amer- ragga-rap.
ican Cultural Institute, Strathmore Hall, the V-Masta has performed in Santiago, Chile, Medellin, Colombia, and Ven-
Kennedy Center and the Library of Congress, ezuela. Now he has moved back to the U.S. to show
Contact: Jose Acuña
and he has traveled extensively for recitals in 703-462-0156
his experience. Locally, he has performed at Lucky Bar,
Portland, Oregon and Trujillo, Peru with the Al- @ vmastamc@yahoo.com Cuzco, Artomatic, Batalla de los Gallos in New York,
exandria Guitar Quartet, on a tour of New York and many festivals around the area.
State with flutist Rebecca Jeffreys, and for a
solo recital in Rio de Janeiro.
A review of a concert by Richard at the State
Our City
Department affirmed: “Throughout his recital,
he not only displayed impeccable technique but
communicated his love of this beautiful music.”
As a “popular” musician, he has performed and
recorded with singers such as Lilo González
and Alaor Macedo, and he has been a fixture in
nightclubs in the Washington area for more than
six years playing Brazilian and Latin jazz.
Richard and vocalist Patrick de Santos perform
together often. They weave their main influences
and styles, creating a unique sound. Their suc- and foodfirst.org. Their musical expression ex-
cess has led to packed nightclubs and numerous ploits the endless variety of timbre and nuance
requests for private performances and concerts to and transcends the limitation of a duo.
benefit causes to which they are committed, such Joel Siegel, writing for the Washington City
as the National Geographic’s concert to aid the Paper, stated: “Together, they create an orchestral
victims of Hurricane Mitch and the One-Song- sound that renders additional instrumentation su-
photo: ALFONSO AGUILAR
One-Cause concert in support of world hunger perfluous,” and “Patrick and Richard strike a re-
markable balance between
Contact: Richard Miller disciplined technique and Right: A partial view of
richrellim@yahoo.com
emotional abandon.” Union Station.
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144 Folk Dance and Music Back Latino Cultural Guide Latino Cultural Guide Next Folk Dance and Music 145
ARGENTINA
Cantoral
The group specializes in all kinds
of Argentine foklore
F ormed in 2002 when the members met at
an asado, Cantoral has played from Dela-
ware south to Virginia. The group’s first CD
is currently in production. Cantoral special-
izes in all kinds of Argentine foklore and Contact: Horacio Jimenez
other music from Latin America. With a trio 301-793-7215
horluis@hotmail.com
at its center, it expands with other musicians
www.cantoraltr3s.com
to fit the occasion.
Folklore 4
Their influences come from
many of the countries
surrounding Argentina
F olklore 4, an Argentine folkloric dance
group, was founded in 2004. They have
been known for their impact on individual and
group dance. Their influences come from many
of the countries surroundin g Argentina. To
name a few: Peru’s marinera dance, Paraguay’s
polca de la galopera, Bolivia’s carnavalito
and cueca, Uruguay’s candombe, and Chile’s
cueca.
Life somehow separated the members but
brought them together again here in the U.S.,
where they were able to put together Folklore
4. They now perform in the Argentine Festi-
val in Va., the Latino Festival in D.C., various
embassies, and schools
Left: Parade of Nations
at Latino Festival 2007:
within the D.C. metro-
Ballet Folklórico Ritmos politan area. Contact: Osvaldo y Adela Aquino
del Perú (above) and 301-908-2642
Brazilian contingent www.Folklore4.com
(below).
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148 Folk Dance and Music Back Latino Cultural Guide Latino Cultural Guide Next Folk Dance and Music 149
BOLIVIA BOLIVIA
Llamerada
M any of Bolivia’s traditional dances come from pre-Columbian times; others reflect the clash
between native, European, and African cultures during the colonial period, and a few are of
more recent origin.
Morenada
The morenada (dance “of the Moors”) is a stately slow march. The women wear hats and long
Some dances still take place in Bolivia as traditions that endure; others are versions intended to flowing dresses, or short dresses with tall boots. Phantasmagoric male costumes include feathers,
be performed at carnivals and contests, retaining a ritual meaning while adopting modern aspects stiff round capes, and heavy black or silver masks with European-style smoking pipes. The dance
such as choreography and especially-made costumes. Washington-area groups perform a number is accompanied by sounds that evoke the dragging chains that bound the African slaves. The dance
of the traditional dances, but by no means all of them. The following notes concern dances likely may derive from the use of slaves—hence the black masks—in the mines of Potosí, whether as
to be seen in this area. miners or in the coin-minting operations—hence the silver masks. The dance may also indicate the
later use of the Africans in wineries, now long-abandoned, in the lowlands, or derive from the fish
Caporales dance of the Aymaras around Lake Titicaca.
The caporales (foremen, supervisors) appear in vivid costumes and boots with bells, wielding
whips, dancing to a heavy down beat with strong movements of intentional masculinity. They are Pujllay
accompanied by seductive chinas in high heels and fancy dresses by now reduced to minimal size. The Carnival of Tarabuco, also known as the Pujllay Yampara, conserves almost without chang-
The dance of the caporales is of recent origin, created in 1969 by the Estrada Pacheco family of es its folkloric essence, expressed in its heavy walk, its melancholic and monotonous music, and
promoters. The caporal as a character derives from an earlier afro-Bolivian dance, the saya (see the solitary song of a farmer expressing his love for a young woman. Pujllay also recalls the groups
below). or “wheels” of farmers and of mestizos of Chuquisaca, who traveled the settlements on foot or on
horseback visiting houses where they found chicha (fermented corn drink) and pukaras. The latter,
Cueca pre-Incaic defensive weapons, in the Pujllay become silver bows decorated with white flags, foli-
This is a lively post-colonial dance without indigenous roots, in which handkerchiefs feature age, and products to be harvested: corn, flowers, potatoes, vegetables, beeswax, meat, drinks, and
prominently, similar to the Chilean version and related to the Peruvian marinera and the Argentine so on. The sencka tanch’ana, a flute whose openings are placed far below the mouthpiece, requires
zamba. It follows a strict three-part structure. It is known especially in the southern department of the musician to adopt and unusual and uncomfortable position. Country people of humble dress
Tarija. interpret the five-note music of pujllay, as well as new huaynos they have composed.
Diablada Saya
The Diablada represents the struggle between Good and Evil, in which the evil Supay cult of Saya is a dance of the Afro-Yungan peoples, who gradually took on native clothes and customs,
Wari, the god of the mountains, has merged with the Catholic devil, and the native Earth Mother, losing their own traditions. In one interpretation, the dance ridicules the black foreman who mistreated
Pachamama, has been transformed into the Virgin of the Socavon. The dance portrays the struggle the newer arrivals from Africa. In another, he symbolizes social order, and is not the abusive foreman
of St. Michael Archangel and the Virgin of Candelaria against the devils. Despite its serious subject of the dance of the negritos. The character of the foreman was later taken up for the separate dance of
and the size of the fantastic mask of the devil, it is a high-stepping dance with the upbeat feel of a the caporales. Although thus thematically related, the two dances have no musical connection—not in
tarantella, accompanied by brass instruments and drums. The first Diablada of Oruro was formed the rhythm, the instrumentation, or the melody. Beginning in the 1980s, saya was revived and carefully
in 1904. reconstructed by college students, leading to social organizations such as the Movimiento Cultural Saya
Afroboliviana. Saya is played by specific drums with the support of the coancha or reco-reco, a loud
Huayno or Huayño scraper. The rhythm is set at the start by the bells of the whip-wielding caporal.
Both music and dance, the huayno is widespread in the Andean regions of Bolivia, Ecuador, and
Peru. Its origins are pre-Columbian, but it is now played with wooden flute (quena), charango and Suri Sicuris
small guitars, harp, and violin. Trumpet, saxophone, and accordion may be added. The music is The choreography of this dance was created in Oruro together with the musical adaptation of
pentatonic (five-note scale) with a 2/4 rhythm, and very danceable. the caluyo and the huayno, bringing back a folkloric character known by his exquisite presence
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BOLIVIA BOLIVIA
and singular attire, the Suri Sicuri, who wears a conical crown bordered by bird feathers. The men
also wear a tiger-skin chest covering; the women wear colored skirts. A dance with pre-Columbian
roots, it stages the hunt of the suri or ñandú, an ostrich-like bird. Sicu is the Andean pan pipe, and
those who play it are sicuris.
Alma Boliviana
Tinku
Its members include young people of other nations
An ancestral custom of the Andes, the Tinkus are subject to varying interpretations ranging from
devotion to and blood sacrifice for the Pachamama to a ritual defense of community fields. Tinku is
such as Mexico, El Salvador, Peru, Ecuador,
Musical Tips
a battle between communities; tinkunacuy is a fight between two individuals in which blood must
be drawn. The fights are scheduled for the main plaza of a community, and last 20 to 30 minutes
Nicaragua and the U.S.
each. Local authorities, symbolic whips in hand, referee the fights.
Tobas
A lma Boliviana
was founded by
María DeMartini in
The Guaraní language
is the only indigenous
The Amazonian Tobas are believed by some to have traveled to Oruro attracted by the fame of 1991. At first perform- language that is used
the Virgin of Candelaria, and were later represented in religious feasts by dancers in rain-forest ing the dance of anta- in Latin America by
clothing. The Tobas are an Aymara representation of these peoples, in particular the Tacana, with wara, it has focused a general national
population. In
wooden masks and feathered headdresses. In a different version, the Quechua took prisoners from lately on the danza de Paraguay , where
the rain forest, leading to the Aymara creation of a dance of the captured. As the Aymaras later caporales, tinkus and it is recognized as
moved to Oruro and La Paz, they recreated the dance and called it Tobas, the name of a people Bolivian cueca. an official language
from the Chaco, and included masks and feather headdresses from the Tacana. The dancers dress The group has along with Spanish,
lightly, not just because of the rain forest environment they recreate, but because the dance requires performed at the in- more than 90% of
the population uses
powerful movements and great physical effort. auguration of presi- it. The Argentine
dents, at the Kennedy province of
Waca toqoris Center, and at other Corrientes also gives
The dance of the dancing bulls is an indigenous representation of the Spanish bullfights as a national venues and official status to
dance. Elements for ridicule are cows, a kusillo (a kind of clown) and jilakata, an indigenous au- events. Alma Bolivi- Guaraní. Paraguay‘s
constitution is in
thority figure who carries a stick and commands the dance group. A bullfighter or kausalla carries a ana also participates both languages, as
sword and dresses like a Spanish bullfighter. The milkmaids wear up to 25 skirts at the same time, in local festivities like are most textbooks.
which they show off as they spin to the music. Arlington's Nieghbor- Paraguayans switch
hood Parade, Fiesta between Guaraní and
Sources: DC’s Parade of Na- Spanish in everyday
Danzas tradicionales de Bolivia, Viceministry of Tourism conversation.
tions, Hispanic Heri-
Tanzegruppe Bolivia
Fiesta DC tage Month events, the
Bolivian Festival and
many others, and has
been invited to New Jersey, New York, and Florida. It provides a whole-
some environment for youth, with a membership that is mostly from five to
20 years old. It is the only group in the U.S. that presents its own original
music.
Alma Boliviana is under the leadership of current president Jaime Inofu-
entes and vice-president Lucio Villazón, with the supervision of María De-
Martini. Its members include young people of other nations such as Mexico,
El Salvador, Peru, Ecuador, Nicaragua and
Contact: Lucio Villazón, President
the U.S., demonstrating admiration for the 703-892-0241
beautiful Bolivian folklore. directors@almaboliviana.org
www.almaboliviana.org
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152 Folk Dance and Music Back Latino Cultural Guide Latino Cultural Guide Next Folk Dance and Music 153
BOLIVIA
Bolivia Andina
Bolivia Andina is known especially for the dance of
the waka-toqoris or milkmaids.
F raternidad Bolivia Andina was founded in
1995 by Luba Morales, with the purpose of
keeping alive and popularizing Bolivian foklore
and cultivating the beauty of its dances and tra-
ditional cultural expressions with roots going
back for many decades. It has participated in
events of the Washington area and other cities
in the U.S.
Bolivia Andina is known especially for the
dance of the waka-toqoris or milkmaids. Every
year it brings new dances into its repertory, such
as the dance of the ch’utas, moceñada, sicuria-
da, kullawada, and llamerada, being
the only group that interprets these Contact: Comité Pro Bolivia USA
dances of long tradition accompa- info@proboliviausa.org
nied by live musical performers. www.proboliviausa.org/bolivia-andina.php
Fraternidad Cultural
youth, and older people
who love this unique
Bolivian expression.
Currently it is directed
Pachamama
by Hugo Céspedes, pres-
ident, Roberto Gonzáles,
vice-president, and Es-
tela Suárez and Marcela
Calvi, treasurers.
Embajadores del Folk-
lore has received acknowl-
In its few years of existence, it has won important and
edgments and awards for
its participation in gov-
significant awards in Virginia, California and New York
ernmental, social, educa-
tional, and political events
of the Washington metro-
F raternidad Cultural Pachamama was
founded in 2000 by the family of Gonza-
lo Sandoval, in coordination with Rosmary
Anaheim, Ca., 2005; and Winners of the Dance
Festival in New York, 2006.
It took part successfully in the Carnaval of
politan area, as well as in Barrientos and family, Gonzalo Alanes, and Oruro in 2006 and 2007, becoming the first
other states of the U.S. Freddy Andrés. They counted also with the Washington-area group to participate in that
invaluable support of the Jiménez-Quintana majestic festival.
family of Fundación de la Fraternidad. Be-
ginning with around 30 dancers, FC Pa-
chamama currently has more than 100 asso-
ciates.
In its few years of existence, Pachamama
has won important and significant awards, such
Contact: Hugo Céspedes, President as Winners of the 1st, 2nd, and 3rd tinkus con- Contact: Gonzalo Sandoval, President
703-768-3354 240-533-8918
test (2002, 2004, 2006), organized by Comité
fesbo@hotmail.com tigre990@verizon.net
www.proboliviausa.org/embajadores-del-folklore.php Pro-Bolivia; Winners of the Dance Festival of www.pachamama.us
Fiesta DC’s Fiesta DC’s
158 Folk Dance and Music Back Latino Cultural Guide Latino Cultural Guide Next Folk Dance and Music 159
BOLIVIA BOLIVIA
Fraternidad Folklórica
Juventud Boliviana
F ounded in 1991 by Maria Luisa Aliaga and Fernando Aliaga,
the group was organized with the idea of presenting the beauty
of Bolivian folklore through traditional dances such as morenada,
tinkus, and cueca.
Juventud Boliviana has performed at community, social, edu-
cational, political, and religious events in Washington, Maryland
and Virginia. It is an official member of Hearabout, an agency of
Arlington County's Multicultural Office that brings together the
groups most representative of the world's folklore and culture.
Contact: Comité Pro Bolivia USA
info@proboliviausa.org
www.proboliviausa.org/juventud-boliviana.php
Yaku Band
Sociedad Cultural B ack in December 2000 the group Sayubu
arrived at Minot, N.D., for a tour through
different states in the US. The group came
Tradiciones Bolivianas
with Alexander Cámara, one of the leading ex-
ponents of charango in Bolivia. The charango
is a small South American string instrument of
the lute family, about 66 cm long, traditionally
made with the shell of an armadillo. It typically
CapoeiraDC
Awal
A wal was founded in 2005 with the sole pur-
pose of disseminating the rich folklore of
Guatemala. Based in Arlington, Va., the group
is well represented by Awal, with its traditional
colorful costumes and dances and the distinctive
sound of its music.
has performed at many different festivals in the AWAL’s members are: Luisa López, Ubaldo
photo: KENIA LOBO
L ed by master dancer and choreographer Oscar Rousseaux, Alafia Dance and Drum performs
and offers classes in Cuban and
other Latin genres, including songs
Contact: Johanna Rousseaux
believes that his seeds will flourish, the group’s
members believe that they, too, can bring up
a new generation that is aware of its roots and
and Julia Cabrera.
De Colores
The group performs dances from states such
as Jalisco, Veracruz, Nayarit, and Guerrero,
and also Aztec dances
Los Tecuanis
During their performance they attempt to defeat evil,
represented by the jaguar
According to
our records,
Ballet Folklórico
de Panamá
Grupo Folklórico
de Panamá
(GRUFOLPAWA)
is the oldest
(GRUFOLPAWA)
Latino dancing
ensemble in the
metropolitan area.
It was established
by Dr. Norma
Small and its first
presentation
was during the
G RU F O L PAWA
(Grupo Folklóri-
co de Panamá en Wash-
Latino Festival
of Washington in ington) is a non-profit
1976. At that time organization with roots
PACOAN
men and women of all
ages, and mostly, but
not exclusively, Pana-
manians.
Escuela de Danzas
on the musicians'
laps, it is the deeper,
large, drum that
"Chino Terrones”
leads, while the
smaller two drums
carry on a stacatto
T
frequency sounds.
he Escuela de Danzas "Chino Terrones," under the direction of its
founder José Terrones, National Champion of Northern Marinera
and Peruvian Dances, has been presenting Peru's folklore in the metro-
politan Washington area since 1999 and in countries like Japan, Austra-
lia and Argentina.
The group's mission is to make Peruvian folklore known internation-
T he Dance Group Mamauca was founded in 1977 by Enrique Barrueto, an
outstanding professional in the art.
Mamauca means the mother goddess in an African language. Now di-
ally at a high level and to promote Peru's national heritage. To meet rected by Elena Marcos, Mamauca has expanded its teachings in the U.S.,
these goals, it has opened schools in Maryland, Virginia, and the center with great success in the Washington area.
of Washington, offering classes in Peruvian folk genres and salsaero- Focusing on Afro-Peruvian dance, the group has broadened its repertoire
bics. Students range in age from 3 to 60 Contact: José Terrones, Director and now perfforms dances from the coast, the mountains, and the rain forest.
years old, from beginners to champions 703-221-6428 Composed of with young and talented children born to Peru-
in various contests held in Los Angeles, terrones@usa.com vians in the U.S., the group demonstrates that it is possible to Contact: Grisel Barrueto
New Jersey, Miami and California. www.chinoterrones.com carry on this marvelous Peruvian art. 240-821-8581
Fiesta DC’s Fiesta DC’s
176 Folk Dance and Music Back Latino Cultural Guide Latino Cultural Guide Next Folk Dance and Music 177
PERU puerto rico
Candombe Forever
Striving to teach the extraordinary rhythms
of Uruguay to aspiring drummers of all ages
FOTONOVELA
La familia Gómez
compra su primera
Our Theater
To promote stable
Casa
FOTONOVELA
GALA Theatre
theater, winning a loyal following and scores of Latino in the fullest sense." As such, every sea-
awards. Unlike some areas in the United States, son, GALA includes productions that appeal to
Washington has never been representative of a wide range of nationalities and backgrounds.
one predominant Hispanic Contact: Hugo Medrano, Director; Rebecca Read, Director
culture. GALA's princi- 202-234-7174
pal audience as well as its info@galatheatre.org
actors, have been Argen- www.galatheatre.org Abel López (left), Associate Director; Rebecca Read, Managing Director; and Hugo Medrano, Artistic Director.
Fiesta DC’s Fiesta DC’s
184 Theater Back Latino Cultural Guide Latino Cultural Guide Next Theater 185
Teatro de la Luna
Performances are presented in Spanish, with
English subtitles or live English dubbing
offered at the main stage productions
photoS: COURTESY TEATRO DE LA LUNA
Teatro de la Luna was founded in 1991 with Teatro de la Luna advances its mission by pro-
the intent of providing the Washington capital areaducing plays, holding theater workshops for adults
with permanent access to theater from a Latin and children, organizing poetry marathons such as
American perspective. The company performs at the Young People's Poetry Marathon in Spanish,
the Gunston Arts Center in Arlington, Virginia and and producing International Festivals of Hispanic
at Casa de La Luna in Washington, as well as in Theater including La Pluma (The Quill) y La Pa-
various other venues and in suburban Maryland. labra (The Word). These activities give people
Performances are presented in Spanish, with from different backgrounds an opportunity for
English subtitles or live English dubbing offered community dialogue, participation, reflection and
at the main stage productions. support.
Promoting Hispanic culture and fostering The vision of Teatro de la Luna is that of a
cross-cultural understanding between the Spanish- functioning theater that trains Hispanic and non-
and English-speaking communities of our region Hispanic actors as well as theater technicians ea-
through Spanish-language theater and bilingual ger to show their talents, while providing a bilin-
theatrical activities is a dream come true for the gual theater with related workshops and camps for
theater's founders. children and teens to promote the romance, charm
Left: Anabel Marcano and Peter Pereyra interpret “Frida Kahlo, The Passion”at Gunston Arts Center in Arlington.
Contact: Mario Marcel, Artistic Director; Nucky Walder, Producer and richness of the Picture by Raymond Gniewek; other pictures courtesy of Teatro de la Luna.
202-882-6227, 703-548-3092 Spanish language. Above: Marcela Ferlito Walder plays the principal role in “The Adventures of Pinocchio.”
www.teatrodelaluna.org
Below: Harps of the Americas Concert.