the legacy of celia cruz: the queen of salsa

Transcription

Edition 49 / Ene 2015
ORQUESTA LOS SATÉLITES DE VENEZUELA:
PASADO, PRESENTE Y FUTURO
THE LEGACY OF CELIA CRUZ:
THE QUEEN OF SALSA
ODESSA INTERNATIONAL DANCE FESTIVAL (OIDF)
Odessa – Ukraine / July 17 – 19, 2015
www.salsamundi.com
@salsamundi
International Salsa Magazine
International Salsa Magazine / Oct 2014
3
Grand Opening Salsa Fridays in SF!
San Francisco’s Newest Salsa nightclub with LIVE
BANDS, Social dancing and Lessons, EVERY Friday!
8pm - 2am
GRAND OPENING! - FRIDAY, NOV. 14 with Live Music
by N’RUMBA!
HAPPY HOUR: 8-10pm with Drink Specials!
Salsa Lessons with Tomaj Trenda - 8:30-9:30!
Live Bands - 10pm - 1am!
Full Bar * Big, Beautiful Dance Floor * V.I.P. Area!
Learn More about Friday’s new Nightclub in San Francisco.
Sonora Dinamita, Sonora Tropicana,
Luz Roja de San Marcos // Sunnyvale
Banda MS - El KOMANDER
Luis Coronel - Laberinto // San Jose
Joan Sebastian y Ramon Ayala
Sacramento
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International Salsa Magazine / Dic 2014
El Mexicano Presents Joan Sebastian
y Ramon Ayala // Fresno
Voz de Mando // Sunnyvale
Joan Sebastian - Tigres Del Norte
Ramon Ayala // San Jose
The Beauty of Latino
Culture is here!
www.latinlife.com
@latinlifeofcl
latinlifeofficial
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EVENT
ODESSA INTERNATIONAL
DANCE FESTIVAL (OIDF)
Odessa – Ukraine / July 17 – 19, 2015
The Odessa International Dance Festival (OIDT) will take place in the beautiful city of Odessa in
July 17 – 19 of 2015. The main idea of this event is to unite all salsa lovers together in a wonderful and lovely place to create unsurpassed and fantastic atmosphere around.
It will offer us:
- Three magnificent parties all night long
- Two dancefloors (salsa on 1&2, sensual)
- Two days of master classes with the world’s most famous performers
- Great Salsa DJs
- Fantastic programme of shows
- Live salsa bands’ concerts
- Fun entertainment
- Boat party
- and lots more...
It is a great opportunity for all our guests to relax
on a seashore of one of the most beautiful city from
Ukraine, where you can find everything for an excellent
and lovely holiday. We guarantee this!!!
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By: Ana Rosa Massieu / @anarosacultural
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EVENT
ARTISTS:
Adolfo Indacochea and Tania Cannarsa (Italia / Milan)
Ozlem and Diego (Turkey / Istanbul)
Enah Lebon (France / Paris) and Carolina (Spain)
Oleg Sokolov (Ukraine / Odessa)
Andrew Zhulid and Kristina Shatalova (Belarus /
Minsk)
Anton Shcherbak (Russia / Moscow)
Anna Sotnik (Ukraine / Kiev)
Alexander Nechaev and Yulia Klimenko (Ukraine)
Natalie Karnaukh (Ukraine / Odessa)
Utku Oylum & Gunes Diker (Turkey / Istambul)
See artists biographies and videos at:
http://odessadancefest.com/en/artists
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EVENT
ODESSA:
Odessa known as the Ukrainian Pearl of the Black
Sea located on the southern part of Ukraine. The city
is a major seaport located on the northwest shore of
the Black Sea and the fourth largest city in Ukraine
with a population of about 1.1 million people…
www.tours-ukraine.com/places_to_visit/odessa.
html
More information at:
http://odessadancefest.com/en/odessa-en
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www.backpackingtips101.com/best-cities-to-visit/eastern-europe/odessa-ukraine/
http://eeua.ru/
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EVENT
LOCATION:
Hotel complex Odessa
Ukraine, 65009, Odessa, Gagarinsky plateau, 5
http://odessadancefest.com/en/prices-location-en
The Odessa International Dance festival will be held
at Hotel complex Odessa. A wonderful place that
has everything you will need for a comfortable stay
during this unique event…
The complex is located within walking distance of
the famous Arcadia Beach. It is also 5 km away from
the railway terminal and 9 km from the airport.
Hotel advantages:
- Unique location in the city’s resort area
- Good transport accessibility and sophisticated
infrastructure
- Rooms renovated in 2012
- Multifunctional conference halls
- Excellent cuisine
- Good service price-to-quality ratio
More information at:
http://odessadancefest.com/en/prices-location-en
www.facebook.com/Odessadancefest
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Open Monday to Friday from 12pm until late
Saturday & Bank Holiday Sunday from 4pm until late
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57 Old Harcourt Street Railway Station,
Harcourt Street, Dublin 2 Tel: +353 1 478 2088
www.odeon.ie
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INTERVIEW
THE LEGACY OF
CELIA CRUZ:
THE QUEEN OF SALSA
I first became acquainted with La Guarachera de la Salsa while studying at Stanford University in the 1970s.
As a Jamaican, I was naturally drawn to the company
of other international students on campus, especially
to those from Latin American and the Caribbean, including the Spanish Caribbean. I was quite familiar
with the music that had come to be known as Salsa by
that time, as my step-father was a fanatic of the genre
and it was always playing in our Kingston home.
As I gradually became immersed in the varied and
vibrant world of Afro-Caribbean sounds, I quickly fell
in love with it myself. In the San Francisco Bay Area,
we were fortunate to be an integral part of the Salsa
circuit. Tito Puente, Eddie Palmieri, El Gran Combo,
Cheo Feliciano, Willy Colón, Oscar d’León and other
great salseros were frequent visitors. However, when
La Reina Celia passed through Latin Americans of all
ages, ethnicities, social classes and political persuasions made it a point to attend her legendary performances. I soon became an avid salsera- fan/creator
of salsa or salsa dancer- myself. In fact, in 1977, while
pregnant with my first child, Sasha Kalinda Jones, I
was dancing to the addictive sounds at one of Celia’s
San Francisco concerts the night prior to the unfor16
gettable 36 hour labor that brought my daughter into
the world. I remember my friends and I marveling, as
we placed our hands on my huge belly, that we could
actually feel the baby moving vigorously. I later joked
that Sasha came into the world dancing salsa, even
before she left my womb!
After I graduated from Stanford and returned to Jamaica, I became friends with members of the large Cuban
community- both pro and anti-Castro- resident on the
island, and often held lively Salsa parties myself at my
family’s residence, the Moorings, which coincidentally
shared a block with the Cuban Embassy. I mentioned
to my diplomatic neighbors that, as an anthropologist, I was curious to see for myself what the Cuban
Revolution was really all about. So in 1975, I visited
Celia’s fountain of inspiration- her beloved island- as a
member of a group of academics from the University
of the West Indies. Although the tour had been carefully planned in coordination with Embassy staff to
ensure that we would be able to focus on the “Revolutionary” legal and penal systems, instead, upon arrival
at Havana International Airport, we were whisked off
to the beautiful, but decidedly remote Jibacoa Beach
resort, several hours away from any substantial Cuban
By: Gayle McGarrity / [email protected] /
Gayle McGarrity
community. It soon became obvious that our official
hosts were determined that we should see only what
they wanted us to see of the “New Cuba”.
However, always an astute participant- observer in
the best tradition of anthropology, I was able to gain,
even from this first visit to the island, considerable
insight into the reality, as opposed to the exported
myth- all too often eagerly devoured by advocates for
social change in Latin America throughout the world
like myself- of “Revolutionary” Cuban society. One of
the first things that struck several of us, as we travelled on the luxury, air-conditioned bus from Havana
to Jibacao, was that the driver was insistent on playing
only foreign music, like that of the Carpenters and the
Bee Gees, while we were all eager to hear more of the
hot Cuban rhythms that had made the island famous
throughout the world. When we requested a change
to local music, the driver explained that young Cubans like himself were only interested in American
and other foreign music genres. This struck me as
strange. On one hand, the “Revolution” was condemning everything connected with the U.S. and with the
capitalist world, and emphasizing the strongly nationalistic character of the “Revolutionary” process. On the
other, the indigenous rhythms of the Cuban nation
were being disparaged. At first, I thought that perhaps
this was simply because, as Cuba was situated in such
close proximity to the U.S., it was only to be expected
that its citizens, who could easily pick up U.S. stations,
would be naturally attracted to forms of music played
by the latter, and which were internationally popular
at the time.
Celia Cruz
However, as I continued to visit Cuba from 1975-1997,
it became crystal clear that the Commandante en
Jefe- the Supreme Leader (of the “Revolution”), Fidel
Castro, along with his entourage of military, political
and social elites, had little time for any aspect for the
dominant Afro-Cuban culture, and even less for its
creators- the brown and black majority of the island’s
population. I eventually took issue with the U.S.-based
and unquestioning supporter of the Castros, filmmaker Saul Landau, when he wrote an article in Mother
Jones, sympathizing with Fidel, whom he referred
to as the quintessential Renaissance Man, for having
to deal with un-cultured masses that wore Santeria
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INTERVIEW
Amaury Gutierrez and Dr. Gayle at his Miami residence Nov. 2014 Photo 2 for Rolling Stone
beads and, according to Landau, had “no culture”. That
was only one of many examples that I have encountered, since becoming a specialist on Cuban culture
and society, of the tendency of many U.S. liberals and
leftists to laud the Cuban Revolution and decry racial
prejudice and social inequality in this country, while
deliberately turning a blind eye to these phenomena
when they are not only perpetuated, but actually recreated and reinforced by those calling themselves
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“revolucionarios cubanos”- Cuban revolutionaries. I
must emphasize that I have always considered myself
both a liberal and a progressive, so I was by no means
pre-disposed to rushing to negative conclusions
about the current Cuban regime. I not only visited the
island close to a dozen times, but actually lived there
from 1981-1982, when I became the first U.S. citizen to
gain a Masters in Public Health from a tertiary institution in Cuba. It was particularly after actually having
been a resident on the island that I had to admit to
myself that I, along with many of us who supported
the “Revolution” from abroad, had been sadly misled.
El Instituto del Desarollo de la Salud - the Institute for
Health Development, where I lived and studied on
the outskirts of Havana, was attended exclusively by
Cuban, Latin American and Catalan medical professionals. I was not only the sole native English speaker
there; I was also the only student who was not a citizen of the larger Spanish-Speaking Diaspora. I arrived
speaking very little Spanish, but will always be grateful to my fellow students- many of whom were quite
fluent in English- for refusing to speak to me in my native tongue, thus fueling the need for me to rapidly
develop a firm command of the language, which they
knew would open up a whole new world to me. After a few months, I had no problem performing adequately in Spanish as a graduate student of International Health at the WHO (World Health Organization)
accredited institution. However, I was already a committed anthropologist so, unlike most other foreign
students who were confined, for the most part, to the
Isla de la Juventud- The Isle of Youth, I quickly became
a “mulata Cubana”- a Cuban mixed-race woman. In
fact, so much so that members of the notorious and
feared Seguridad del Estado- State Security apparatus would regularly attempt to block my entrance to
social spaces reserved exclusively for foreigners, such
as hotels, restaurants and shops. “¿A dónde vas, mulata? - “ Where do you think you’re going, mulata?” was
the constant interrogatory, which I grew all too accustomed to having to confront, while lighterskinned
foreigners breezed pass with impunity. Despite my
clearly foreign- accented Spanish, State Security
agents often remained convinced that I was simply feigning the latter, in order to sneak into foreign
spaces and be able to “jinetear”- pick up foreign men.
The attitudes of these representatives of the State,
who were clearly following instructions from above,
also reflected the common Cuban stereotype of darkskinned women as primarily sexual objects and even
potential prostitutes- and so I invariably was forced to
produce my passport.
I soon learned that, had I not been considerably protected by my foreign passport, life for me as a mulata in
Gayle McGarrity
Cuba would have been very different. Jaws would routinely drop when I informed doubting white Cubans
that I was a Stanford graduate, had travelled the world
and was not from an under-privileged background. As
the “Revolution” continuously bombarded the population with images of dogs attacking black protesters
in Alabama and Mississippi, along with of lynchings,
many Cubans believed that these kinds of events were
still routine and actually occurred throughout the U.S.
They were incredulous that I had attended only the
best private schools from nursery school and primary
schools in Kingston, on to a prestigious international
boarding school in the U.K. I still remember the mulato musician, Tomasito Valdez, accomplished member
of the legendary Orquesta Aragón, telling me during
a Carnaval (Carnival) Celebration at the Trocha in Santiago de Cuba, that it filled him with pride to see mulatas like myself “tan bien preparadas y profesionales”- so
well- educated and professional.
The first time that I heard the sound of African drums
in the distance, as I lay one night in my dorm at the
Instituto de Desarollo de la Salud- Institute for Health
Development-in Arroyo Naranjo, and told my fellow
Cuban students that I would love to go and see who
was actually creating these hypnotic rhythms, then I
was hastily warned to forget about doing anything of
the sort, as only delincuentes- criminals- and enemies
of the Revolution played that kind of music. At the
time, Santería was essentially illegal and the communities and persons who participated in this creolized
African faith were both stigmatized and routinely harassed.
When I noticed that her adoring Cuban fans could only
listen to Celia’s music clandestinely, they explained to
me that Fidel had branded her a terrible egoist and
worse, a contra-revolucionaria- a counter-revolutionary. However, even many Cubans who were faithful to
the principles of the “Revolutionary” process, seemed
to see no contradiction between being both socialists
and also celebrating the indigenous culture and music of their country. Castro and his virtually lily- white
élite vanguardia- vanguard, including then Minister
of Culture Armando Hart, made it clear that “cultura”culture- was synonymous with only European culture
and further, mainly with the cultural expressions of
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INTERVIEW
that, in many respects, it was actually considerably
worse, as expressions of black unity and solidarity,
along with attempts to improve the abysmal level of
self-esteem of many black Cubans- like study groups
dedicated to the study of eminent African, Caribbean
and Afro American scholars- were not tolerated by the
government. That was why black and mulato Cubans
identified so strongly- as Maceo informed me and as
I soon came to realize myself- with artists like James
Brown, Bob Marley, Aretha Franklin and Sade. In fact,
so strong was the underground network that united
fans of world black music on the island, that I was actually introduced to the music of the Nigerian/British
Sade when she was just beginning to gain recognition internationally, in a tiny, dilapidated solar- slum
in a tiny cramped dwelling on a steamy night in CenAymee Nuviola
the European upper- classes. This also appeared to me
to be ridiculously ironic. On one hand, the struggle of
the oppressed masses of Latin America, Africa and
Asia were heralded and supported by the “Revolutionary” leadership; on the other, the forms of cultural expression of the latter were placed on a clearly inferior
level to those accorded mostly upper-class European
cultural traditions by organs of the Ministry of Culture
of Cuba, an undeniably Caribbean nation.
As I became friendly with Black American revolutionaries who had fled to Cuba, hoping to gain the government’s support for their goal of reaching Africa,
my idealist view of the Cuban Revolution suffered
further attack. These young men introduced me to a
world, in the barrios in which they attempted to survive, including La Habana Vieja and Centro Habana,
which were overwhelmingly populated by darkerskinned Cubans who lived in conditions that were
in stark contrast to the upper- class areas of Miramar
and Vedado where I, and most foreign students, were
permitted to spend our leisure time. I will always remember when Maceo Finney, a member of the Black
Panther Party who had fled police repression in his
native San Francisco, explained to me, as we sat chatting on the Malecón- Havana Boardwalk, that life for
blacks in Cuba was not at all superior to the conditions facing black Americans at the time. He added
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Celia Cruz, Teatro Blanquita en Cuba, Circa 1955
Gayle McGarrity
tro Habana.
It is hardly surprising, therefore, that representatives
of the so- called “Revolutionary” Government of Cuba
vilified Celia, and continue to do so, even following
her death. Her unwavering opposition to Fidel Castro’s policies was an irrefutable challenge to their
claim, totally lacking in historical foundation- that
all black and mixed- race Cubans had languished in
misery and ignorance until they were “saved” by the
“Revolution”. I was constantly told this by militantes
del Partido- Communist Party stalwarts in Cuba during
my visits to the island, some of whom added that esos
negros- those blacks were ungrateful, as they were
now taking advantage of the freedom they had been
“given” by adopting increasingly anti-social behaviors.
As a scholar of the African Diaspora, I was already well
aware that Jamaicans and other immigrants from the
English- speaking Caribbean had historically been
well-respected by Cubans of all colors, in part due
to their excellent manners, command of the Queen’s
English and commitment to hard work and discipline.
Cuban blacks of Spanish and African, as opposed to
Jamaican, Haitian and other Caribbean heritage, were
actually the often un-sung heroes of every revolutionary process in the history of Cuba, although their images are glaringly absent from Cuban textbooks. Even
the image of the brilliant military strategist, Antonio
Maceo, is invariably lightened in official portraits to
such an extent that it is difficult to detect any of his
considerable African heritage.
The fact that Celia had impeccable manners, commanded respect, was not afraid to speak her mind
and to assert her Cubanía- Cuban identity, and further
that she did not conform to the racist stereotype that
all black Cubans are adherents to the Santería faith
made the almost exclusively phenotypically white Cuban “Revolutionary” elite very uncomfortable indeed.
Throughout her painful exile, she remained a thorn in
their side. They punished her by making her pay the
supreme price. She was denied permission to attend
her beloved mother’s funeral, in the same manner
that Juan Juan Almeida, the son of the only “Revolutionary” Commandante of visibly African descent,
Juan Almeida, was also chastised by being barred
from joining his family when his father was laid to
Celia in her 20s. From Celia My Life An Autobiography 2004
( permission requested nov 17 2014)
rest .
But what of the primarily “white” Cuban community in
South Florida, which was recently the site of the Salsa:
the Music of Celia Cruz concert at the Knight Concert
Hall? My black and mulato Cuban friends and colleagues here consistently marvel at the fact that those
whose desks and mantel pieces are adorned with Celia’s radiant image, often do not share the same adoration for other non-white Cubans who have formed
an ever-increasing percentage of immigrants to the
city since the 1980s. Space precludes my presenting
here my thoughts on this issue, as well as an adequate
response that recognizes the complexity of this seeming contradiction. However, I will say that I believe that
the millions of Celia’s countrymen and women- many
of whom waited for hours to view her coffin when it
was brought here to the capital of the Cuban Diaspora
in 2002- love Celia because she embodies the African
21
INTERVIEW
está?- So where is your grandmother?”
Deny it as they may, the majority of Cubans participate, to varying degrees, in some expressions of AfroCuban religion and culture. Even the most senior
members of the “white” Cuban business community
in South Florida put younger Cuban Americans to
shame when they take to the dance floor and demonstrate their impeccable salsa moves.
Members of Cuba’s vibrant Hip Hop community
Raudel El Escuadron Patriota
Raudel T shirt reads We are the Root of Change
heritage which most of them are so anxious to deny,
thus exhibiting the deeply ingrained social prejudices common throughout the Caribbean and Latin
America and so brilliantly exposed and explored by
Panamanian salsero, actor, lawyer, activist and politician Rubén Blades in his hit song: “¿Y tu abuela, dónde
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Cubans the world over adore and venerate Celia because, despite their continuing adherence to cultural
traditions with roots in slavery and colonialism which
grant superior status to everything white, while denigrating all that is black, there is a part of their soul that
cannot deny their African roots. When Cubans advocate the need to “mejorar la raza”- improve their race
(by producing offspring by lighter-skinned partners),
and celebrate the advantages of “blanqueamiento”whitening, they are often acting unconsciously, not
really thinking about what they are implying by their
choice of words.
This was quite evident at the recent tribute to Celia at
the James Knight Theater in Downtown Miami a few
weeks ago, referred to above, which I was privileged to
attend. As has been the case at virtually every Cuban
event featuring popular Cuban music that I have attended here since the 1970s, as soon as the music got
going Cubans of every age, gender, sexual persuasion,
and skin tone seem to be transformed and become
entranced. From the nights I spent dancing at the Siboney Restaurant and Club in Downtown Berkeley
in the early 1980s, I have delighted in watching older
Cuban couples, displaying the epitome of elegance
as they glide across the dance floor. I continue to see
this in contemporary Miami, despite the fact that this
is a city in which there is still a very long way to go in
bridging the cultural and ethnic divide between the
predominantly, “socially white”(expression commonly
used among Hispanic Caribbeans to describe individuals who may have African ancestry, but who are
light enough to be socially accepted as white ) Cuban
population, on one hand, and the Central American,
other Caribbean, U.S. born African- American as well
and darker-skinned segments of the Cuban community.
Gayle McGarrity
It is painfully disappointing to still hear Cubans here
unabashedly claim that there was never any racial
problem in Cuba. By saying so, they are being totally disingenuous as it was crystal clear, following the
Mariel boatlift of 1980, that one of the primary deterrents to the established Miami Cuban community
here embracing and fully accepting the needy new
arrivals into the fold was the fact that many of them
were non-white. Countless black Cubans have shared
with me their painful memories of being both ignored
and despised, as they sat by as lighterskinned arrivals
at Reception Centers for Mariel refugees were sponsored by Miami Cubans who had arrived here in the
1960s, while they were left behind. Many were eventually relocated to other parts of the United States.
I remember about a decade ago viewing a film called
Azúcar Amargo -Bitter Sugar at a Coconut Grove theater, surrounded by an overwhelmingly Cuban audience and overhearing many of the mostly elderly persons in attendance expressing surprise and, in some
cases disgust, at the portrayal of Contemporary Havana streets and barrios being populated by so many
blacks. I heard one grand-mother exclaim in horror to
her grand-children: “Yo crecí en la Habana y nunca vi
esa cantidad de negros allá. ¡Debe ser que los trajeron
de Angola!”- “I grew up in Havana and I never saw so
many blacks there. They (the Communists) must have
brought them back from Angola! ”
When I was fortunate enough to meet La Reina Celia in person, running into her in the mid 1980’s, as I
rushed through Miami International Airport in transit,
I forgot all about my connecting flight and enjoyed a
memorable conversation. She was, as always, warm,
friendly and modest. When I asked if she now lived in
Miami, she replied:
“Mira chica, tengo a muchos amigos acá y me encanta
visitarlos. Pero a mí me gusta Nueva York, donde todo el
mundo se mezcla”-“Look my dear, I have many friends
here and I love visiting them. But I love New York,
where everyone mixes together (more)”.
She shared with me that she was always irritated
when her white Cuban friends would try to persuade
her to have plastic surgery to transform her African
nose and render it: “más bonita- prettier.” She said that
Lucrecia
she would always tell them, politely but firmly, that
she was very proud of her African heritage.
I learned later that, when she visited Africa for the first
time, she descended from the airplane and lay down
prostrate on the ground, kissing the soil of her other
Motherland. Filled with emotion, she exclaimed:
“Mi querida África. ¡Aquí sí no somos minoría!- My
dear Africa. Here we are definitely not a minority!”
Otherwise very simpático- agreeable/ well-meaning
“white” Cubans may not realize that language and
commentaries that they consider to be quite harmless
are in fact reflections of expressions of an insidious
and deeply ingrained historical racism. Celia, however,
was not blind to this ugly aspect of Cuban culture. The
use of expressions, including the following, is routine
in Cuban Spanish:
- “pelo bueno” literally good hair, but referring always
to straight, European hair;
- pasas- literally raisins, but a very derogatory term for
African hair types; --- mejorando la raza- literally improving the race, a reference to the common practice of securing a lighterskinned father or mother for one’s child, so that the
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INTERVIEW
child will be born whiter;
el negro ése- literally that black person, but never a benign or favorable designation
- el negro si no lo hace a la entrada, lo hace a la salidaloosely translated as: “that’s a black man for you. If he
doesn’t do something bad on his way in, he’ll certainly
do it on his way out.”
“andar de luto” –literally to be in mourning, but used
to describe someone who dates blacks.
“mulata para salir”-literally a mulata to go out with in
public, but with the clear implication that most mulatas are not good enough for that purpose.
With the sensitivity some say we now all have in this
supposedly post-racial United States, can we really
believe that those who use such terms are unaware
of the crushingly negative impact which they have on
the psyche of black Cuban and other Hispanic children and the myriad ways in which it erodes their
delicate sense of self-esteem? And please, let me emphasize that this is, by no means, a criticism of only
the attitudes of Miami Cubans. These same terms are
routinely heard in so- called “Revolutionary” Cubain which the fledgling Black Consciousness and Civil
Rights movements were systematically and brutally
dismantled in the 1960s and 70s- as well as throughout Latin America and the Hispanic Caribbean.
The fact that Celia always held her head high, commanding respect in any setting which she graced with
her immaculate presence, is a tribute not only to her
indomitable spirit, but also to her deep pride in her African ancestry. When she was lovingly called La Negra,
it was a refutation of the tradition in the Caribbean and
Latin America- including the French, English, Dutch as
well as the Spanish Caribbean- to equate blackness
with inferiority, with ugliness, and with something
to be feared, rejected and avoided. The equally regal,
elegant and talented women who paid tribute to Celia through their renditions of her songs at the James
Knight Theater held their audience captive. Lucrecia,
with her glorious multi-colored dreadlocks; Aymee
Nuviola with her radiant Afro and the lovely Xiomara
Lougart presented themselves to the audience as the
daughters of La Reina, and they unquestionably merit
that title.
There is no doubt that the recent surge of Cuban mu24
sicians, of all skin tones, who valiantly confront the
hypocrisy and abuses of the so-called “Revolution”
through Reggae, Hip Hop, Rap, Jazz and other musical
genres- often focusing their attacks on racist practices
and policies- are products of the love, talent and the
inspiration that Celia brought to us all, but particularly to her fellow Cubans, whom she never ceased to
adore. It is also not coincidental that many of the major proponents of this music are fearless black Cuban
youth- artists like El Escuadrón Patriota- Raudell- and
countless others.
Grammy Award winner, Amaury Gutiérrez sums it all
up when he asserts: “Cuba es música y la cultura cubana es esencialmente africana”-Cuba is music and
the culture of Cuba is essentially African”. Explaining
that his knowledge of La Reina was severely limited
until he left his country, as Cubans could only listen
to her music secretly, he states that he became more
familiar with Celia’s legacy when he went into exile in
Mexico, where she had also sought refuge, shortly following the Castros rise to power. In a recent interview
at his home in Miami, Amaury applauds the fact that
young Cubans- increasingly emboldened to demand
their full social, economic and cultural rights- resent
the fact that La Reina, who carried Cubanía to the far
corners of the globe, was prevented from ever returning to her homeland. Amaury, who I always refer to
as the Cuban Bob Marley, commented that, despite
the government’s attempt to erase her image from
the national consciousness, her spirit is still alive and
well on the island as: “¡No se puede tapar el sol con un
dedo!”- The rays of the sun cannot be concealed with
a finger!
Like her Caribbean brother, the great Robert Nesta
Marley, whose mother, Rita, was born in Santiago de
Cuba, Celia is eternal. She lives on in the hearts and
minds of all those whose lives she touched, and continues to touch. When I attended the tribute to her
at the Knight Center on November 1, and danced in
the aisle as if I were myself a true, rather than an adopted daughter of Cuba- captivated by the songs of
Xiomara, Lucrecia and Aymee- her beautiful, talented
and dignified self-proclaimed daughters- I realized
that Miami has changed from the sleepy Southern
town that I used to visit as a child and teenager. I have
Gayle McGarrity
The eternal Celia!
25
INTERVIEW
Tropicana photo shoot
26
Gayle McGarrity
At Hollywood Palladium
watched with pride as this international metropolis
continues to grow and mature. Maintaining and celebrating the spirit and life of La Reina Celia is an indispensable component of this process. Taking a firm
stand against oppression, racism, prejudice and injustice, as Celia relentlessly did throughout her life, is
something that all who claim to love and cherish her
memory must commit themselves to doing, in order
to truly pay tribute to La Reina.
(1). I use the term ‘socially white” frequently when
describing Caribbean and Latin Americans who
pride themselves on their European heritage to
the exclusion of all other aspects of their background because, as another great Latin American
artist reminded us in the 1980’s: “¿Y tu abuela,
dónde está?”
Xiomara Lougart
27
REVIEW
NELSON FRITZ
Nelson Fritz has an ear for salsa music and a heart of passion and love towards the salsa community.
Not only does he enjoy dancing to Latin rhythms, but he also enjoys teaching it. Nelson has served
as salsa instructor of various prestigious salsa schools like Salsa Mia, where he instructed students
for 2 years. He also taught at Salsa Casino a.k.a Salsa Racing, at Cafe Mystic. He has worked side by
side with several dance studios such as Salsa Mia, Salsa Lovers, Nuevolution, Salsa Driven, Salsa
Craze, Elite International Dance Academy and to name a few.
Being an instructor has opened up doors for Nelson to share his passion with others. His passion has
led him to work with different salsa teams who carry the same vision. He was Co-Founder of the Miami Salsa Scene from 2007-2011. He taught salsa to non-dancers and entertained many in the salsa
community by providing different venues with a friendly atmosphere, live music, and professional
DJ’s playing salsa, bachata, mambo, cha cha and merengue. He has also worked closely with Singer
Melina Almodovar and participated in several Salsa Festivals such Hollywood Circle in Broward and
North Shore Band Shell Located in Miami Beach as Host/MC.
Nelson Fritz has worked at various venues in the MIMO District which include the Bank Loft Rooftop,
Boteco Brazilian Bar, Le Café, Moonchine Lounge, and at The Well Lounge located at the Forge in
Miami Beach. He’s also set up salsa dancing events in venues at Downtown Miami, such as Villa 221
and Bongos once located in the American Airlines Arena.
When not on the dance floor, Nelson Fritz aka “NegroFino” is a Salsa Event Coordinator, Masters of
Ceremony, and Salsa Instructor. No doubt you’ll see him soon, doing what he does best, bringing
Salsa dancing to you in your neighborhood!
Remember:
Tell a Friend! Bring a Friend!
Send a Friend!
28
By: Ingrid Hernández / @ingridher
WWW.NEGROFINO.COM
29
INTERVIEW
ORQUESTA LOS SATÉLITES
DE VENEZUELA: PASADO,
PRESENTE Y FUTURO
Tuve el placer de conversar con los
Mendoza en un ambiente de cordialidad y buen humor en su cómoda oficina situada a pocos metros de la plaza
Bolívar de Caracas, Venezuela. “Y vienen llegando… de nuevo Los Satélites”
José Rafael “Cheché” Mendoza, fundador de la orquesta, desde niño cantaba en Perijá, estado Zulia. Cuando
contaba con 26 años de edad decidió formar el grupo
en 1966 en Maracaibo. Esta primera formación de seis
integrantes tocaba música tropical con órgano en negocios como cervecerías. Hicieron una gira en Venezuela, regresaron a Maracaibo, pero Cheché decidió
radicarse en Caracas en 1968. Fue entonces cuando
incorporó el trombón y la trompeta y cambió al género salsa que comenzaba su auge por entonces.
José Lazo, mejor conocido como Cheo Palmar, cantante, músico, compositor y arreglista venezolano, le
llevó a Cheché la canción Pensando en ti que se grabó
con la disquera Discomoda. Un cubano de Nueva York
vino a Venezuela y distribuyó el disco en los Estados
30
Unidos y en República Dominicana. A los tres meses
ya la producción era todo un éxito, inesperado por
demás, según cuenta Cheché. Fue el comienzo de la
internacionalización de Los Satélites.
Gracias a la gran aceptación que tuvo la canción Traicionera por parte del público hispanohablante particularmente de Nueva York, los invitaron al Madison
Square Garden que es la puerta grande de entrada de
los salseros. Fueron para diez presentaciones y se quedaron dos meses entre Nueva York y Chicago porque
no tuvieron tiempo para ir a otras ciudades.
La primera etapa, por así decirlo, de Los Satélites fue
de 1966 a 1981, lapso en el cual grabaron 15 discos.
En 2012 el señor Mendoza le entregó la batuta a su
hijo Andy quien agregó más metales a la orquesta influenciado por la salsa puertorriqueña, ya que Los Satélites acompañaban al cantante puertorriqueño Pedro Arroyo en Venezuela y él utilizaba dos trompetas,
dos trombones y un saxofón barítono en sus arreglos.
A Andy le gustó muchísimo este sonido y empezó a
hacer arreglos con la adición de estos instrumentos
junto a Monchi Bernal, “excelente arreglista venezolano de muy buen nivel, que es lo que requiere una
Cheo Palmar, Andy Mendoza y Cheo Mendoza
orquesta con tantos años de trayectoria”, según sus
propias palabras. Recordemos que la orquesta tiene
48 años…
Los Satélites tienen temas propios desde 1968 pero
también hacen versiones, claro está. En 2010 editaron
su más reciente disco Rendido a tu ser y allí aparece el
tema Déjate llevar, que es una versión del cantado por
Jencarlos Canela en estilo pop, y que ha funcionado
muy bien con los arreglos que le hicieron en ritmo de
salsa romántica.
Al tener la oportunidad de viajar y ver lo que funciona
afuera, Andy busca la esencia de la salsa de los oríge-
nes de la orquesta, Pensando en ti, su canción emblemática, por la que son reconocidos en el mundo, es
una salsa romántica. Pero estos músicos no se encasillan en lo que se llama salsa dura, tienen sus propios
ritmos y variaciones.
Y si bien es cierto que su género es la salsa, también
han hecho cumbias en todos los elepés, género con
la que empezó Cheché Mendoza en su Zulia natal. Según me dicen mis entrevistados, a la cumbia también
la llaman porro, música gallega, música tropical y, en
todo caso, es un ritmo muy fácil de bailar y la orquesta se especializa en temas bailables porque la idea es
que la gente se divierta y disfrute. “Ahora suena mejor
31
INTERVIEW
32
“Estoy muy
contento con trabajo
de mi hijo
Andy Mendoza
al frente de la
orquesta, porque fue
como una prueba
y la pasó”
ORQUESTA LOS SATELITES DE VZLA
@satelitesvzla
33
INTERVIEW
con los metales añadidos”, dice Cheché y Andy añade “tratamos de mantener el swing de Los Satélites y
más ahora que estoy buscando la esencia de la salsa
de ayer”.
Un cantante de referencia para Andy es Mauricio Conde, maracucho (marabino) que grabó y pegó Pensando en ti. Está retirado del mundo musical, vive en
Maracaibo y trabaja como profesor en la universidad
de Cabimas, pero mantienen el contacto. “Soy un fanático de él”.
En octubre de 2014, participaron en el Festival Internacional del Bolero celebrado en Barranquilla, Colombia, tocaron boleros y la guaracha Traicionera (canción
incluida en su segundo disco y que se convirtió en su
primer gran éxito en los EEUU y los llevó al Madison
Square Garden de Nueva York en 1974) para cerrar su
presentación y la gente se quedó con ganas de escuchar y bailar más temas de Los Satélites (Risas). Existe la posibilidad de que la orquesta se presente en el
marco de los carnavales de 2015 de Barranquilla y a
Cheché le ilusiona esta posibilidad ya que el público
colombiano lo considera su ídolo.
Cheo Palmar ha colaborado con Los Satélites por más
de cuarenta años. Él vive en La Guaira, localidad cercana a Caracas, lo que se facilita las reuniones con los
Mendoza para hacer arreglos y nuevos temas. De hecho ya tienen listas unas tienen guarachas que esperan grabar pronto.
Uno de los objetivos próximos es sacar un nuevo disco con 10 canciones en 2015. Andy comenta que “se
hace un tema y se ve qué pasa”. En este momento están promocionando tres: La vecinita que tiene el ritmo
de la salsa de los inicios de Los Satélites con arreglos
de Monchi Bernal que ya está sonando muy bien en
República Dominicana, también gusta en Colombia
y lo promoverán en otras partes del mundo, además
de Venezuela. La ranchera mexicana No volveré de Antonio Aguilar y que hasta ahora es el único tema que
padre e hijo han cantado a dúo. Cuando la mandaron
a México, la gente la aceptó con mucho cariño por el
hecho de que una persona tan querida y admirada
por los mexicanos desde 1970, como lo es Cheché
Mendoza, le hiciera arreglos a un tema de ellos y la in34
cluyera en su repertorio nuevamente, ya que esta canción apareció en los primeros trabajos de la orquesta.
Los promotores de República Dominicana les pidieron una salsa rápida pero romántica, entonces Andy
se sentó con el pianista José Alberto y, buscando temas románticos, se toparon con Presiento que fue el
tema de una telenovela e interpretada por el venezolano Carlos Mata y que cuenta una historia romántica, lo cual gusta mucho en las canciones. Esta salsa la
canta Andy y en el medio tiene una bachata que es un
ritmo con gran difusión actualmente.
Andy estudió percusión desde pequeño incentivado
por su padre y tocó con grupos en su natal Caracas y
admite que lleva la música por
dentro. Aproximadamente desde 2006 se desempeñaba como
percusionista en Los Satélites y
comenzó a cantar hace año y
medio apenas.
Después de 1981 la orquesta
tocó en eventos privados. En
1993 Andy sacó la orquesta
pero el nicho los bailes no era el
mismo. Él siguió con sus negocios relacionados con la música,
eventos e incluso un restaurante, pero mantuvo el contacto
con Manuel Guerra (de Silva y
Guerra), quien, entre otras personas del mundo de la música,
le insistieron en que sacara a Los Satélites nuevamente a la palestra. La estabilidad económica con la que
contaba le permitió decir “Vamos a arrancarlo (este
proyecto) como un hobby”, y grabaron el disco de los
40 años con versiones de temas viejos de la orquesta
pero con nuevos cantantes.
Sobre esta nueva etapa no sólo como músico, cantante, sino además director de la orquesta, Andy se
muestra muy entusiasmado.
“Mi padre y yo la pasamos muy bien en la tarima. Es un
gran apoyo para mí y es una gran satisfacción tenerlo
conmigo; disfrutamos lo que hacemos. Contamos con
buenos músicos jóvenes, hay respeto, trabajan con
cariño”, y agrega “está un poco difícil la promoción
afuera, pero estamos enfocados en República Dominicana, Colombia y México que son los mercados que
te catapultan a EEUU”.
En 1972 República Dominicana le abrió las puertas a
Los Satélites y por ello el público dominicano tiene
un lugar especial en el corazón de los Mendoza. Y se
mantienen tocando allá con gran éxito.
Prefieren hacer conciertos porque no pueden presentarse en lugares pequeños por los costos, ya que son
17 personas en tarima. “Afortunadamente entes del
gobierno actual conocen la orquesta y nos complace
que nos llamen y nos tomen en
cuenta porque nos gusta tocar
para grandes audiencias, en
grandes conciertos. De todas
formas, todo lo que salga se
hace con gusto y cariño”. Este
comentario viene porque en
este mes de diciembre de 2014
se presentaron, con gran éxito por demás, en el marco del
evento “Suena Caracas” y en un
concierto con otras orquestas
de salsa en el bulevar de Sabana Grande en Caracas. Ambos
eventos fueron gratuitos y auspiciados por entes gubernamentales.
La orquesta graba en Venezuela y, aunque en este
momento no tienen disquera, sí cuentan con una distribuidora. Esperan propuestas desde afuera, de Colombia por ejemplo. A la gente de Sony de México le
gustó trabajo del 40 aniversario. “Vienen cosas buenas
con el favor de Dios”, dice Andy.
Cheché dice orgulloso “estoy muy contento con trabajo de mi hijo Andy Mendoza al frente de la orquesta,
porque fue como una prueba y la pasó. La orquesta ha
tenido gran aceptación fuera y dentro de Venezuela.”
Cuando ya había decidido retirarse a descansar, Andy
lo incentivó a retomar la orquesta a pesar de que en
Venezuela había disminuido el número de bailes. “EsInternational Salsa Magazine / Dic 2014
35
INTERVIEW
toy en tarima y canto y todo lo que pueda hacer”.
“En la década de los años setenta, tocábamos cuatro
veces a la semana y alternábamos con otras orquestas
venezolanas icónicas: la Billo’s Caracas Boys, Los Melódicos y otras. Podíamos tocar en Puerto Ordaz, al día
siguiente en La Guaira y luego en Maturín. Ahora es
más difícil en Venezuela, ahora no hay bailes como antes. No sé qué pasó”, dice Cheché y añade “la orquesta
suena bien en los shows, eso es importante, y de allí
vienen los contratos”.
Además del buen acoplamiento de los músicos que
se aprecia en escena, en las presentaciones de Los
Satélites de Venezuela hay dos parejas que bailan en
algunas canciones mientras la orquesta toca y esto le
gusta mucho al público.
Al preguntarles por una anécdota, Cheché Mendoza
sin pensarlo mucho comenta: “estábamos tocando
en un baile en las afueras de Nueva York y un día íbamos a tocar en un lugar donde solían llevar al público
en autobuses, un lugar llamado Villa Nilo que era un
sitio campestre donde se presentaban orquestas extranjeras. Mi pianista se quedó dormido en el hotel,
el dueño de la fiesta me dijo que ya era hora de salir
para Villa Nilo y que él mismo se encargaría de llevar
al pianista. Ya salíamos a tocar y como no había llegado el pianista, le pedí a Papo Lucca, quien alternaba
esa noche con nosotros, que tocara el piano y accedió.
Pero el dueño del lugar, de manera intencional, dejó a
mi pianista en el hotel y luego no me pagó la presentación porque Lucca no era mi pianista. Además luego
me dijeron que sólo había 5 autobuses porque estaba
lloviendo y no 12 que era lo usual… Mi pianista llegó
cinco minutos después. Me la jugó el hombre”. Amarga experiencia…
Ahora el turno es para Andy:
Esto pasó hace dos años aproximadamente: regresábamos de República Dominicana y en la sección de
migración del aeropuerto, el funcionario nos para
y nos pregunta, como para asustarnos, que quiénes
somos, que tenía que revisarnos, le respondimos que
éramos la orquesta Los Satélites de Venezuela y el
hombre insistió en que cantáramos para comprobarlo
36
37
INTERVIEW
38
y apenas comenzamos a cantar Pensando en ti el funcionario dijo ¡Ah pero si ustedes son de los buenos!
Nos había reconocido y nos jugó esta broma para que
le cantáramos… Los dominicanos son así, jocosos…
Fue una muestra de cariño y reconocimiento, siempre
contamos esta anécdota.
Un mensaje para nuestros lectores:
“Reciban un saludo
de Cheché Mendoza
de Los Satélites de
Venezuela, muchas
gracias por todo
y ¡adelante!”
“Un saludo de parte de
Andy Mendoza de Los
Satélites de Venezuela.
Muchísimas gracias
a Ingrid por esta
entrevista tan chévere. Muchas gracias por
estar allí y apoyarnos.
Seguimos haciendo
música y haciendo
salsa venezolana para
el mundo. ¡Muchas
bendiciones!”
39
I envision Negrofino.com to bring fun-loving
business professionals together to connect
with other likeminded individuals.
Our purpose is to provide a positive and healthy
lifestyle. A multicultural community expanding
and growing social and business relationships
to the next level!
My love and passion for salsa has given me the
opportunity to work with several artists and
Djs, singers, performers, dance studios, etc.
I truly enjoy what I do and I would love to
share my love and passion. In this website,
you will find venues, schools, parties, dancers,
performers, djs, dance shoes, photographers
and a lot more!
Thank you for visiting and enjoy!
www.negrofino.com
40
Method One of Four: Mastering the Basics
m.wikihow.com/Dance-Salsa
Start in the closed dance position. The lead takes his partner’s
right hand in his left and places his right hand on her left
shoulder blade. The partner should keep her left hand on his
right shoulder, with her arm over his.
Or start in the hand-in-hand position. The lead has his
palms facing upwards, and the partner takes his hands with
her palms down. This allows for more freedom of movement.
Have good posture. When dancing, you should always keep your spine straight, your
chin up and your shoulders back. Your chest should naturally then puff out a bit.
Your body should be held with strength at all points.[1]
Always look up. Keep your head held up or tilted to look at your partner. Do
not look at your feet or your partner’s. Looking at your feet is a dead giveaway
that you’re nervous and not sure what you’re doing.
Keep your arms bent at a 90 degree angle from the elbows.[2] In this position,
your hands are most easily accessible to your partner. Your arm should rest on
horizontal plane.
Move your hips. Most of the movement in the Salsa comes from the
hips, so you will want to keep your hips loose. Don’t be afraid to sway
your hips. Even if you’re just moving your foot, know that a slight hip
movement goes along with it. If you move your right foot out, your
right hip juts out a bit, too.
Choose a song that has a 4/4 beat (four beats to the bar) and a fast tempo[2]. You’ll want music that lies somewhere between 160-220 beats
per minute.[3] Before you start a song, make sure that you can
keep up with the speed and identify the beats for your steps.
Count as you listen to the song. If you count out the beats in the
music, you will be able to find the Salsa beat and identify which
steps go with which beat. If you can’t keep count while you’re
listening to the song, it’s best to choose a different one.
4/4 time is counted in 8-counts. You’ll be doing one standard Salsa
step in 8 beats.
41
USA
42
USA
NEW YORK CITY, USA
WWW.SOBS.COM
43
CANADA
44
USA
45
46
Visit www.tipdi.com/donate-or-sponsor.html
47
48
www.salsainhawaii.com/
49
www.ilbarriolatino.it
50
Barrio Latino
www.lacovacha.com
USA
51
52www.congaroom.com
800 West Olympic Blvd. Los Angeles, CA 90015, USA
53
54
@lulalounge
Lula Lounge
www.lula.ca
55
DJ Dr.T
32108 Alvarado Blvd #169
Union City, California 94587,
USA
Time to drink
champagne and
Dance on the
table ! : )
USA
56
Stylish. Elegant.
Sexy. Fun !!!
THIS SATURDAY
NIGHT
USA
57
@copacabananyc
copacabanany
USA
58
thedancesocks.com
59
US
Club Pa
5688 W S
Margate, Florid
Phone: 954
paladiumnig
60
SA
aladium
Sample Rd
da 33073 USA
4-977-7752
ghtclub.com
61
New York, USA
62
SALSALABAMA Huntsville
63
DR6: SEXTO FESTIVAL DE BACHATA Y AVENTURA DE BAILE EN REPÚBLICA DOMINICANA
DR6 Festival de Bachata es 23-24-25 de Enero en Santo Domingo y 26-27-28-29-30-31 de Enero
y 1 de Febrero en Hotel CCC Juan Dolio
Conciertos confirmados: Raulin Rodriguez, El Chaval, Joe Veras, Zorro Negro, Andy Santiago,
Mr. Montuna, Grupo Bonye, Napita de Bonye,Esteban Mariano, Melani Tejada, Eddy Lopez...
en total 12 grupos en vivo !!!
Enfocamos en Bachata Auténtica como también en los típicos, mambo, palo, dembow,
son y bolero en dos salones para principiantes y avanzados Instructores Dominicanos: Rodolfo,
Yocasti, Junior, Andina, Pipo, Virginia, Melody, Wilson, Yonathan, Julio, Yanet&Yamerkis,
Liccelot&PamelaInstructores Interacionales: Adam Taub, Carlos Cinta, Alecia, Patrick&Polita,
Vesa Excursión Jungla Rio, Excursión Catamarán, Excursión Tres Ojos | Animaciones,
Noche de bolero, FogataBachata
Country / City: Republica Dominicana / Santo Domingo
Date: 23-24-25 de Enero / 26-27-28-29-30-31 de Enero / 1 de Febrero 2015
Web: www.domibachata.com
64
CLUB
NIGHT
www.clubmayan.com
1038 S Hill St, Los Angeles, CA 90015, EE.UU
Phone +1 213-7 46-4287
65
1ST ANNUAL SALSA & BACHATA CONGRESS IN HAWAII
More instructors are on their way to Hawaii! The Mambo Invasion continues!!! Get your tickets at
www.SalsaInHawaii.com
First it was Daniel and Ahtoy of Baila Society and now we’ve got Angel Ortiz, Atsuko Murakami from
NY and Erik Rodriguez from Okinawa that will be joining us in February.
www.SalsaInHawaii.com is blowing up!!! People are buying tickets like crazy!!! Make sure you’re part
of what will be the biggest salsa event in the history of Hawaii! Don’t miss out!
In the spirit of teasing you with our slow release of names, we’d like to announce another one of our
exciting instructors. Tomaj Trenda from SF will be coming!
Country / City: USA / Hawaii
Date: Feb - Mar 2015
Web: www.SalsaInHawaii.com
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CLUB CACHÉ 22 West 34th Street, New York, NY
www.clubcachenyc.com
67
68
lamacumba.cz
www.lamacumba.cz
69
DINNER
S P E C TA C
Mango’s Tropical Café, 900 Ocean Dr., Miami Beach. 305-673-4422,
Miami, Florida, USA
Facebook: MangosTropCafe
Twitter: @MangosTropCafe
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Web: www.mangostropicalcafe.com/
R & SHOW
CULAR
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Thursday Jan 15, 2015:
Pre-party Festival at Sonesta by DJ Dav’
7:00 pm: Pass registration
Friday Jan 16, 2015:
5pm: Pass registration
8:30pm: Opening speech
9pm: Shows
11:30pm-3am: Party (Social Dancing)
Saturday Jan 17, 2015
9am-4pm: Workshops
8:30pm: Shows
11pm: Party (Social Dancing)
Sunday Jan 18, 2015:
9am-4pm: Workshops
4:30pm-7pm: Pool party (Muy Caliente)
9pm-2am: After at Sonesta by DJ Dav’
City / Country: Marigot, Saint Martin
Date: 16,17,18 January 2015
Web: www.dpdancesalsa.com
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www.barrio-latino.com
Barrio Latino
74
The 11th Annual Portland Salsa Bachata
Congress June 12th – 14th, 2015
OREGON, USA
Doors Open at 9PM – 5AM! All Ages Welcome!
Buy Your Full Pass Now to experience all the
workshops, social dancing, performances
and more!
City / Country: USA / Portland, Oregon
Date: 12 - 14 June 2015
Venue: Sheraton Airport Hotel
Web: www.PortlandSalsaCongress.com
75
Follow me @salsamundi
76
Share your experiences with other salseros around the world
and find current events worldwide
USA
www.allegroballroom.com
@allegroballroom
Allegro
Ballroom
77
78
1204 West Randolph - Chicago. IL 60607, USA
Phone: 312.666.9555 www.alhambrapalacerestaurant.com
79
sclub.com
www.nottinghillart
80
Notting Hill Arts Club
Return to dance classes SIEMBRA DANCE COMPANY
Country / City: France
Web: www.siembra.fr
81
WWW.RECORDREPORT.COM.VE
“DE VUELTA A TU CORAZON” / GUACO - GUACO
“TE ENCONTRARE” / RONALD BORJAS - GOCHO
“REGALO” / REY RUIZ - OYE
“SOLO POR TI” / NELSON ARRIETA - TUMBAO
“TODO ME RECUERDA A ELLA” / DIMENSION LATINA - OYE
“DARTE UN BESO” / MANUEL GUERRA - OTROS
“TODO ME RECUERDA A ELLA” / DIMENSION LATINA - OYE
“AMOR PERFECTO” / SERGIO Y LION - OYE
“PIENSA EN MI” / JONATHAN MOLY - OYE
“POR QUE?” / AMILCAR BOSCAN - HAF
Click your favorite song and enjoy!
Dale click a tu canción preferida y disfruta!
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@ArteMusa
Arte Musa
www.bailaconsuzan.yolasite.com
ElRanchoToronto
@ElRanchoToronto
CANADA
www.baliha.de/der-club/erlebnisbereiche.html
www.facebook.com/Baliha
misalsa.humberto
Click here: International Salsa Magazine
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WEBSITES
BANDS
WEBSITES
www.lacatedraldelasalsa.com
www.lasalsera.com
www.clubsalsa.com.ar
www.danzasdelcaribe.com.ar
CHOCOMENTA
www.chocomenta.com
www.labomba.com.au
DANCE ACADEMIES
FLORIDITA / Cuban Dance Bar
www.Floridita.at
www.arte-danza.com.ar/
www.estudiocalas.com.ar/
BANDS
MARIANO AVILA
www.elrumbero.com.ar
NIGHTCLUBS (Buenos Aires)
AZUCAR ABASTO
www.azucarsalsa.com
AZUCAR BELGRANO
www.azucarbelgrado.com
RADIOS
ZONA RUMBERA FM LASER
89.5
www.zonarumbera.com.ar
92
NIGHTCLUBS (Vienna)
CLUB HABANA
www.ClubHabana.at
BANDS
WATUSSI
www.watussi.com.au
RADIOS
92.7 FRESH FM
www.fresh927.com.au
Casa de la Trova
Heredia 208, entre San Pedro
y San Felix
WEBSITES
WEBSITES
www.lasalsera.com
www.rolandhunter.com
www.hksalsafestival.com
DANCE ACADEMIES
www.hotsalsadancezone.com/
www.torontodancesalsa.ca/
BANDS
BANDS
CHOCOMENTA
www.chocomenta.com
NIGHTCLUBS (Hon Kong)
HONG KONG’S NIGHTLIFE
GUIDE
www.hkclubbing.com
MARLIN RAMAZZINI
www.marlinramazzini.com
GRUPO JAZZ TUMBAO
www.jazztumbao.com
WEBSITES
RUMBA CALZADA
www.rumbacalzada.com
www.salsaincuba.com
NIGHTCLUBS (Toronto)
BANDS
LAS BRISAS NIGHT CLUB
www.lasbrisasnightclub.com
JUAN FORMELL Y LOS VAN
VAN
www.vanvandeformell.com
NIGHTCLUBS (Ontario)
BABALUU SUPPERCLUB
www.babaluu.com
RADIOS
TROPICAL 100
www.tropical100.com
LA FIESTA LATINA FM
www.lafiestalatinafm.com
NIGHTCLUBS (La Habana)
El Siglo de las Luces
Corona, Esquina a Enramadas
Patio de la Jutía Conga de la
UNEAC
Heredia 266, entre San Felix y
Carnicería
Patio de la Casona de ARTEX
Heredia 304, entre Calvario y
Carnicería
Casa de las Tradiciones
Rabi, entre Princesa y San Fernando
Pista Bailable del Cabaret Son
América
Avenida de las Américas s/n, Micro 9, Distrito José Martí
Sede del Folklórico IKA CHÉ
San Feliz, entre Enramadas y Carmen, frente a las Columnitas
Cabaret Ciroa
Avenida de Manduley y Calle 13,
Vista Alegre
Jardines del Caribe (Casa del
Caribe)
Calle 13, No. 206, Esq. a Calle 8,
Reparto Vista Alegre
Café Cantante del Teatro Heredia
Avenida de los Desfiles s/n, Esquina Avenida de las Américas,
Reparto Sueño
Patio de los Dos Abuelos
Pizarro 5, Plaza de Marte
(La Habana)
Salon Rosado de La Tropical
41 y 46, Playa
Palacio de la Salsa
Hotel Riviera, Vedado
Cafe Cantante
Plaza de la Revolucion
Turquino
Hotel Habana Libre, Vedado
Las Vegas
Infanta y 25, Vedado
El Morro
El Morro (cerca del tunel de Habana Vieja)
Bulerias
Calle L e/23 y 25, Vedado
Cabaret Nacional
Prado y San Rafael, Centro Habana
Casa de FEU
Universidad de La Habana, Vedado
830 Club
Malecon, Vedado (cercano al
tunel a Miramar)
DANCE ACADEMIES
WEBSITES
www.rinconsalsero.net
www.facebook.com/ages/SalsaEn-Linea-Cr/466687690055152
www.lasalsera.com
BANDS
SON DE TIKIZIA
www.reverbnation.com/sondetikizia
RADIOS
SALSOUL
www.salsoul.com
BANDS
LA CONTRA BANDA
www.lacontrabanda.free.fr
MAMBOMANIA
www.mambomania.free.f
ORQUESTA OCHO Y MEDIA
www.ochoblog.canalblog.com
RADIOS
NIGHTCLUBS (Paris)
REDIO FLORIDA
www.radioflorida.icrt.cu
BARRIO LATINO
www.barrio-latino.com
BUDDHA-BAR PARIS
Restaurant-Bar-Lounge
www.buddhabar.com/fr/
BANDS
ORQUESTA LA BOHEMIA
www.orqlabohemia.canalblog.com
SALSA Y AZUCAR
www.salsayazucar.de
LA 33
www.la33.com
LA COSMICA CHARANGA
www.myspace.com/cosmicacharanga
94
LA PACHANGA
www.lapachanga.fr
RADIOS
FUSION
www.radiofusionfm.com
MKM RADIO
www.mkmradio.com
CARAIBEAN RADIO
www.caraibeanradio.com
RTA RADIO TROPIKALAMBIANCE
www.tropikalambiance.net
WESTINZIK RADIO
www.westinzik.com
EKLA FM
www.eklafm.com
TROPIC 84
www.tropic84.fr
RMJ TROPICAL
www.rmjtropical.fr
RADIO GALAXXY
www.radiogalaxxy.fr
LATINA BEAT
www.radionomy.com
WEBSITES
www.ritmodesalsa.com
www.salsaholic.de
BANDS
MI SOLAR SALSA
www.misolar.de
CLARISSA Y FAMILIA LATINA
www.familialatina.de
SONIDO TRES
www.sonidotres.com
SALSA Y CONTROL NY
www.tropicalisima.fm
PANA JR SOUND
www.panajrsound.com
REGGAE NONSTOP
www.newfunkradio.com
LAUT FM 1
stream.laut.fm/1radiolatino
LAUT FM ONDA LATINA
stream.laut.fm/ondalatina
SONRICOSON
www.sonricoson.de
NIGHTCLUBS (Berlín)
SODA CLUB BERLIN
www.soda-berlin.de
MI SALSA
www.misalsa.de
HAVANNA
www.havanna-berlin.de
NIGHTCLUBS (Frankfurt)
LATIN PALACE, CHANGO
www.latinpalace-chango.de
RADIOS
MRFMUSIC
www.masreggaetonflow.com
95
WEBSITES
WEBSITES
WEBSITES
www.salsahonduras.com
www.salsahonduras.blogspot.com
www.salsaeverybody.com
www.salsaireland.com
DANCE ACADEMIES
www.bandalatina.it
www.salsaconexion.com
www.salsasicilia.it
BANDS
www.facebook.com/pages/Escuela-de-Baile-Ritmo-y-Sabor-Honduras/315042595187526
MARIANO AVILA
www.elrumbero.com.ar
NIGHTCLUBS (Dublín)
ODEON
http://odeon.ie/
RADIOS
PALSONERO
www.palsonero.com
BANDS
BATISTO COCO
www.batistococo.it
MALAJENTE
www.malajente.com
NIGHTCLUBS (Rome)
LA TROPICAL
www.LaTropical.it
BARRIO LATINO
www.IlBarrioLatino.it
BUENA VISTA
www.BuanaVista.it
RADIOS
RADIO MAMBO
www.mambo.it
RADIOMUSIC SALSA4T
www.radiosalsa4te.it
96
DANCE ACADEMIES
www.ritmostar.com
BANDS
COCODRILO VERDE
www.cocodriloverde.com
SON DE CUBA
www.salserosporexcelencia.
com/sondecuba.php
EL NUEVO TIMBALERO
www.timbalero.com.pe
ORQUESTA MIRAMAR
[email protected]
WEBSITES
www.salsamotion.nl
www.salsanet.nl
BANDS
RUMBATA
www.rumbata.com
RADIOS
LR RADIO
www.paralosrumberos.nl
NOS RADIO
www.nosradio.com
97
BANDS
BANDS
WEBSITES
SYNCONA
www.syncona.com
ORQUESTA DE LA LUZ
www.laluz.jp/en
www.jazzydanceco.com
www.salsazulyoro.com
DANCE ACADEMIES
www.assembledancestudio.com/
http://quiqueorduna.com/
MOROCCO
RADIOS
WEBSITES
www.reverbnation.com/
faycpercussion
98
www.salsamexico.com.mx
WEBSITES
WEBSITES
DANCE ACADEMIES
www.salsastudio.ch
www.salsadancers.ch
www.salsa.ch
www.aubrey.ch
www.alexandermartinez.com
www.atticindependent.ch
www.cubandances.ch
www.wheretodance.co.nz
www.quericodance.com
BANDS
PICASON
www.picason.ch
BATAMBO
www.batambosalsa.com
HAVANA DEL ALMA
www.havanadelalma.com
NAIGHT CLUBS (Zurich)
SALSARICA The Salsa Dance
Factory
www.salsarica.ch
CLUB X-TRA
www.x-tra.ch
RADIOS
RADIO MAMBO
www.mambo.it
RADIOMUSIC SALSA4T
www.radiosalsa4te.it
99
NIGHTCLUBS (Moscow)
WEBSITES
WEBSITES
PANCHO VILLA
www.PanchoVilla.ru
LUMBIA THE SALSA CLUB
www.xenbar.com
www.salsatore.com
www.salsorro.com
www.antillasalsa.com
DANCE ACADEMIES
SALSATORE.COM
(Almería,Andalucía)
www.arte-danza.com.ar
www.estudiocalas.com.ar
BALLROOM
Sala Calíope
www.salacaliope.com
(Aguadulce, Almería)
NIGHTCLUBS (Madrid)
CATS
www.CatsMadrid.com
www.xenbar.com
RADIOS
RADIO GLADYS PALMERA
www.gladyspalmera.com
PICADILLO
www.picadillo.info
RADIO TROPICAL BILBAO
www.radiotropical.fm
LAST FM
www.lastfm.es
LATINO FM 99.5
www.latinofm.es
100 International Salsa Magazine / Dic 2014
RADIOS
WEBSITES
WEBSITES
POWER CARIB FM
www.powerfm.hu
www.quepasa.co.za
www.salsacapetown.com
www.mundolatinodance.com
SALSARADIO.HU
www.salsaradio.hu
NIGHTCLUBS (Istambul)
DANSORIUM Club de Baile
www.dansorium.com.tr
MACKOLIC COMPLEX
www.mackolikcomplex.com
RADIOS
RADYO 5
www.radyo5.com.tr
101
BANDS
BANDS
BANDS
JOSE TORRES Y SALSA TROPICAL
www.torres.com.pl
AFRICANDO
www.myspace.com/africandoallstars
DISLOCADOS
www.myspace.com/dislocados
102
WEBSITES
WEBSITES
BANDS
www.londonsalsascene.co.uk
www.redhotred.co.uk
www.MamboCity.co.uk
www.salsacd.com
www.salsafeeltheheat.com
www.northernsalsa.com
www.negrofino.com
www.alejandrobouza.com
www.salsabythebay.com
www.salsatlanta.com
www.salsabortropical.com
www.stuckonsalsa.com
www.descarga.com
www.SalsaFreak.com
www.sobs.com
www.3rdstreetdance.com
www.bailaduro.com
www.yasalsa.com
www.salsapittsburgh.com
www.dtsalsa.com
www.salsacolumbus.com
www.discoamerica.com
www.sultrysalsa.com
www.peoplewhodance.net
www.salsahuntsville.com
www.salsatlanta10.com
www.chicagosalsa.com
www.indysalsa.com
www.salsaboston.com
www.hardsalsa.com
ZON DEL BARRIO
www.zondelbarrio.com
BANDS
LA PACHANGA
www.lapachanga.co.uk
COCO XPRESS
www.cocoxpress.co.uk
SALSA CELTICA
www.salsaceltica.com
RADIOS
SOUNDCLICK
www.soundclick.com
REMOTE DJ
www.remotedj.com
DANCE ACADEMIES
www.dancesport.com/
prat dance academy
arthur murray international
salsa lovers, miami
+13052207115
salsa mia, miami +13059873033
afro-cuban folkloric dance company, NY
el taller latinoamericano, NY
+12126966608
mtw studio, NY +12122538718
SPANISH HARLEM ORCHESTRA
www.spanishharlemorchestra.com
VIBRASÓN LATIN
vibrasonmusic.com
CHINO ESPINOZA
www.duenosdelson.com
www.facebook.com/chinoespinozasalsa
BIO RITMO
www.bioritmo.com
www.myspace.com/bioritmo
AVENIDA B
www.avenidab.com
ROGER DANILO PÁIZ
www.daniloyuniversal.com
SON Y CLAVE
www.myspace.com/sonyclave
SF JAZZ BAND
[email protected]
ORQUESTA SCC
www.orqscc.com
ORQUESTA YARE
www.orquestayare.com
ORQUESTA D’SOUL
www.odslive.com
International Salsa Magazine / Oct 2014 103
STEVE GUASH
www.salsaneo.com
ORQUESTA ALTO MAIZ
www.facebook.com/pages/
Orquesta-de-Jazz-y-Salsa-AltoMaiz/67843261941
SON Y NO SON
www.myspace.com/sonynoson
ORQUESTA LA MODERNA TRADICIÓN
www.danzon.com
NIGHT CLUBS (Florida)
Paladium Nightclub
STEVEN STEAK & SEAFOOD
HOUSE
www.stevenssteakhouse.com
[email protected]
CONGA ROOM
http://congaroom.com/nightlife
NIGHTCLUBS (New York)
ORQUESTA TABACO Y RON
www.tabacoyron.com
SOB´s
http://sobs.com
LOUIE ROMERO Y SU GRUPO MAZACOTE
www.mazacote.com
NIGHTCLUBS (Chicago)
ORQUESTA BORINQUEN
www.borinquensalsa.com
ARAGON ENTERTAINMENT CENTER
http://aragon.com/3.0/
PANDORA
www.pandora.com
LA BRISA RADIO ONLINE
OKLAHOMA
www.brisatropical.com
LA X ESTEREO NEW YORK
www.laxestereo.com
WMNF 88.5 FM TAMPA,
FLORIDA
www.wmnf.org
WDNA FM 88.9
SOUTH FLORIDA
www.wdna.org
LIVE 365 NYC
www.live365.com
NIGHT CLUBS (Miami)
MOJITOS
http://mojitosboston.com
RADIO EL SOL, HOUSTON –
TEXAS
www.radioelsol.com
LA COVACHA
www.LaCovacha.com
VINCENT’S Nightclub
www.vincentsnightclub.com
HD LODEAQUI.NET RADIO
www.lodeaqui.net
NIGHT CLUBS (San Francisco)
HAVANA CLUB
www.havanaclubsalsa.com
FIESTA LATINA HD RADIO
NEW YORK LONG ISLAND
www.elsalvadorforever.com
ROCCAPULCO
www.roccapulco.com
NIGHT CLUBS (Los Ángeles)
EL FLORIDITA
www.elfloridita.com
THE MAYAN
www.clubmayan.com
104 International Salsa Magazine / Oct 2014
SALSA BOSTON
http://salsaboston.com
HABANA VILLAGE
www.habanavillage.com
RADIOS
SALSA Y CONTROL
www.salsaycontrol.com
PANDASHOWRADIO.COM
www.pandashowradio.com
VALLENATO INTERNACIONAL 100% DESDE MIAMI
www.vallenatointernacional.com
LA X2 LIVE – SALSA P´AL QUE
SABE
www.salsapalquesabe.com
WEBSITES
IMPACTO LATINO RADIO
www.impactolatinoradio.com
www.salsamundi.com
www.academiaog.com
www.salsabravave.blogspot.com
www.venezuelasalsaopen.com
TOMA RADIO
www.tomaradio.com
RADIO.REGGAE.COM.PA
radio.reggae.com.pa
TROPICALISIMA.FM SALSA
www.tropicalisima.fm
CYBER FM LATINO
www.cyberfm.com/
cmps_index.php
DANCE ACADEMIES
Musa Academia de Danza
Facebook: Arte Musa
@ArteMusa
Academia OG
Telf: +58 414-247.7803
Centro Integral de Danza
Telf: +58 412-972.7841
DJ MAMBOLOGO
www.golpeybembe.com
Imagen Latina
Telf: +58 414-284.6220
DJ KIKES
www.shoutcast.com
SONEROS TV
www.sonerostv.com
Timba y Son
Telf: +58 212-286.9440
Sede en Centro Plaza
+58 212-264.0728
La Castellana
SABOR Y RUMBA
www.saboryrumba.com
Caribe y Punto
Telf: +58 416-209.7190
NUESTRA SALSA
www.nuestrasalsa.com
Fusión Salsera
Telf: +58 414-325.0096
MNS
www.shoutcast.com
BANDS
LA SÉPTIMA BOHEMIA
www.facebook.com/LaSéptimaBohemia
ALFREDO NARANJO
Y SU GUAJEO
www.alfredonaranjo.com
BAILATINO
https://es-la.facebook.com/BAILATINOVENEZUELA
NIGHTCLUBS (Caracas)
EL MANI ES ASI
www.elmaniesasi.com
DISCOVERY BAR
@DiscoveryBar
CHAPIS CLUB
@ChapisClub
RADIOS
LA EMISORA FIESTA
FM CENTER 106.5
http://www.fiestafmcenter.com/
TV
Programa de TV:
El Tour de la Salsa en Canal i
www.canal-i.com/sitio/
pdetail/el-tour-de-la-salsa/
LOS SATÉLITES DE VENEZUELA
ADOLESCENT’S ORQUESTA
www.adolescentesorquesta.com
sb
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s
s
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International Salsa Magazine
@salsamundi
I Love
SALSA
Music
www.salsamundi.com

the legacy of celia cruz: the queen of salsa

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