DOCSLIB.ORG

16:00 Mixed Salsa and Bachata

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
16:00 Mixed Salsa and Bachata לו“ז פסטיבל ביילנדו 2019 התכנית נתונה לשינויים, טל“ח בריכה - Pool אולם - Hall 2 אולם - Hour / Hall Hall 1 חמישי Thursday 5.9 12:00 - 16:00 קבלת חדרים וצמידים Mixed Salsa and Bachata Party 16:00 - 16:50 Bachata Lead & Follow Secrets - Stav & Ron, Baila Bachata | All 17:00 - 17:50 Festival oPening Party with the Festival dance ארוחת ערב - Zouk Basics - Shlomi & Sharon, Baila Zouk | * Salsa CouPles musicality - Matteo Y Federica - (Italy) | All Mixed Salsa and Bachata Party Dinner 18:50 - 18:00 22:00 - 00:00 Dance Performances with the best artists from Israel and abroad 18:30 - 21:30 00:00 - 04:00 Social dancing in 5 dance floors: Bachata, Cuban, Salsa Dura, Zouk and Reggaeton שישי Friday 6.9 08:00 - 10:00 ארוחת בוקר - Breakfast 10:00 - 10:50 Strengthening and stretching for dancers, Yael Graff | All Salsa (Cuban & LA) Lead & Follow secrets , Shaqed Frumkin | * Mixed Salsa and Bachata Party, 10:00 08:00-12:00 11:00 - 11:50 Body movement jamming - Salsa Kaunas (Lithuania) | *** Leaderit EmPowerment WorkshoP - Lidar Hagbi | All Cuban Party 12:00 - 12:50 Bachata Sensual, Riccardo Y Silvia (Italy) | *** Reggaeton, Oshrat E. Zigi, Fire Dancers | All 13:00 - 13:50 Afro Cuban - Rumba columbia, Victor Gonzalez | *** Bachata Groove Partnerwork - Daniel & Tom, Latin Groove | ** Mixed Salsa and Bachata Party ארוחת צהרים - Lunch 14:00 - 14:50 Men VS Ladies, Dimitris Y Su Secta (Greece) | *** Advanced Zouk - Lidar & Maor - Baila Zouk | *** 13:30 - 15:30 15:00 - 15:50 Bachata fusion - Joan y Mery Bailame Dance (SPain) | *** Timba Musicality - Tomer Y Tal, Rotev Salsa | ** Brazilian Party with Alon KuPerman 15:30 - 16:50 Pool Party with the artists, games and Prises - 15:30 17:00 - 17:50 Shines CaPital Latina Style, Hagai Goren | ** Advanced Bachata sensual - Bar & Yifa, Baila Bachata | *** Mixed Salsa and Bachata Party ארוחת ערב - Bachata CouPles - Stav Navon & Shahaf Aloni | *** Pasitos & CouPles On2 - Matias Lucki | ** Romantic Friday evening Dinner 18:50 - 18:00 22:00 - 00:00 Dance Performances with the best artists from Israel and abroad 18:30 - 21:30 00:00 - 04:00 Social dancing in 5 dance floors: Bachata, Cuban, Salsa Dura, Zouk and Reggaeton 04:00 Pool after Party, night swimming and surPrises שבת Saturday 7.9 08:00 - 10:00 ארוחת בוקר - Breakfast 10:00 - 11:00 Lady & Man style technique - Daniel & Tom, Latin Groove | *** Core technique for dancers, Yael Graff | All 08:00-12:00 11:00 - 11:50 Timba Partner work - Tav Golan & Adi Rokah | *** Bachata breaks & flow - Omri Simchi & Shir Kahalani | ** Mixed Salsa and Bachata Party, 10:00 12:00 - 12:50 LA Partner work - Ovidijus y Victorija (Lithuania) | *** Bachata Battle man vs lady, Havana vs Baila - Tzvika & Paz | *** Salsa Dura Party 13:00 - 13:50 Partner work technique - Ofir & Ofri, BeBachata | *** Cuban body movement & Style - Avi Orbuch, Baila Salsa | ** Bachata Party ארוחת צהרים - Lunch 14:00 - 14:50 Pachanga - Dimitris Y Su Secta (Greece) | *** Bachata Lady style - Lital Weiss | ** Mixed Salsa and Bachata Party 13:30 - 15:30 15:00 - 15:50 Bachata Sensual - Matteo Y Federica, (Italy) | *** Cha Cha & Boogaloo - Alex Etkin | School of Mambo | ** Zouk Party 16:00 - 16:50 Bachata Sensual, Riccardo Y Silvia (Italy) | *** Cuban body movement - Liran & Daniel, Havana | ** 17:00 - 17:50 Rumba in Cuban couPles - Victor Gonzalez | *** Shaqed Frumkin - Social dance creativity | * Mixed Salsa and Bachata Party 18:00 - 18:50 Bachata sensual - Joan y Mery Bailame Dance (SPain) | *** Lady style ON 2 - Dana Danilov | ** פיצה - Jack and Jill comPetition in all dancing styles Pizza 23:00 - 22:00 23:00 - 04:00 Social dancing in 4 dance floors: Bachata, Cuban, Salsa Dura, and Reggaeton ארוחת בוקר - Breakfast ראשון Sunday 8.9 08:00-10:00 יציאת הסעות למרכז נתראה השנה הבאה 10:00 Other Bachata LA \ New York Cuban, Reggaeton Zouk Levels legend All - All Levels * Beginners ** Intermediate *** Advanced.
Load more

Recommended publications
  • Redalyc.Mambo on 2: the Birth of a New Form of Dance in New York City
    Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Hutchinson, Sydney Mambo On 2: The Birth of a New Form of Dance in New York City Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 108-137 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716209 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Hutchinson(v10).qxd 3/1/05 7:27 AM Page 108 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Mambo On 2: The Birth of a New Form of Dance in New York City SYDNEY HUTCHINSON ABSTRACT As Nuyorican musicians were laboring to develop the unique sounds of New York mambo and salsa, Nuyorican dancers were working just as hard to create a new form of dance. This dance, now known as “on 2” mambo, or salsa, for its relationship to the clave, is the first uniquely North American form of vernacular Latino dance on the East Coast. This paper traces the New York mambo’s develop- ment from its beginnings at the Palladium Ballroom through the salsa and hustle years and up to the present time. The current period is characterized by increasing growth, commercialization, codification, and a blending with other modern, urban dance genres such as hip-hop. [Key words: salsa, mambo, hustle, New York, Palladium, music, dance] [ 109 ] Hutchinson(v10).qxd 3/1/05 7:27 AM Page 110 While stepping on count one, two, or three may seem at first glance to be an unimportant detail, to New York dancers it makes a world of difference.
    [Show full text]
  • Aye Que Rico! I Love It! I Gotta Play It! but How Do I Do It? Building a Salsa/Latin Jazz Ensemble
    ¡Aye que Rico! I Love It! I Gotta Play It! But How Do I Do It? Building a Salsa/Latin Jazz Ensemble By Kenyon Williams f you’ve got salsa in your sangre, you re- tion streaming video lessons on the Web, infor- member your first time—the screaming mation that was once only available to a lucky brass riffs, the electrifying piano montunos, few can now be found with ease (see list at end Ithe unbelievable energy that flowed into of article for suggested educational resources). the audience, and the timbalero, who seemed “You can’t lead any band in any style of to ride on top of it all with a smile as bright music unless you know that style of music!” as the stage lights. “The Latin Tinge,” as Jelly admonishes Latin percussion great Michael Roll Morton called it, has been a part of jazz Spiro. “People end up, in essence, failing be- ever since its inception, but it took the genius cause they don’t learn the style! The clave, bass, of such artists as Mario Bauza and Dizzy piano, and even horns, have to play a certain Gillespie in the early 1940s to truly wed way within the structure—just like the percus- the rhythms of the Caribbean with the jazz sion. If you don’t understand that, you will fail!” harmonies and instrumentation of American For an experienced jazz artist wanting to popular music styles. They created a hybrid learn or teach a new style of music for the first musical genre that would, in turn, give birth to time, this fear of failure can be crippling.
    [Show full text]
  • Beyond Salsa for Ensemble a Guide to the Modern Cuban Rhythm Section
    BEYOND SALSA FOR ENSEMBLE A GUIDE TO THE MODERN CUBAN RHYTHM SECTION PIANO • BASS • CONGAS • BONGÓ • TIMBALES • DRUMS VOLUME 1 • EFECTOS KEVIN MOORE REVISION 1.0 ©2012 BY KEVIN MOORE SANTA CRUZ, CA ALL RIGHTS RESERVED No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording or otherwise, without written permission of the author. ISBN‐10: 146817486X ISBN‐13/EAN‐13: 978‐1468174861 www.timba.com/ensemble www.timba.com/piano www.timba.com/clave www.timba.com/audio www.timba.com/percussion www.timba.com/users/7 [email protected] cover design: Kris Förster based on photos by: Tom Ehrlich photo subjects (clockwise, starting with drummer): Bombón Reyes, Daymar Guerra, Miguelito Escuriola, Pupy Pedroso, Francisco Oropesa, Duniesky Baretto Table of Contents Introduction to the Beyond Salsa Series .............................................................................................. 12 Beyond Salsa: The Central Premise .................................................................................................. 12 How the Series is Organized and Sold .......................................................................................... 12 Book ......................................................................................................................................... 12 Audio .......................................................................................................................................
    [Show full text]
  • Tesis Doctoral: Salsa Y Década De Los Ochenta
    PROGRAMA DE DOCTORADO EN MUSICOLOGÍA TESIS DOCTORAL: SALSA Y DÉCADA DE LOS OCHENTA. APROPIACIÓN, SUBJETIVIDAD E IDENTIDAD EN LOS PARTICIPANTES DE LA ESCENA SALSERA DE BOGOTÁ. Presentada por Bibiana Delgado Ordóñez para optar al grado de Doctora por la Universidad de Valladolid Dirigida por: Enrique Cámara de Landa Rubén López-Cano Secretaría Administrativa. Escuela de Doctorado. Casa del Estudiante. C/ Real de Burgos s/n. 47011-Valladolid. ESPAÑA Tfno.: + 34 983 184343; + 34 983 423908; + 34 983 186471 - Fax 983 186397 - E-mail: [email protected] Con respeto y admiración, a mi madre Aura Marina TABLA DE CONTENIDO Introducción .............................................................................................................................. 8 Capítulo I. Experiencia Estética en las Músicas Populares Urbanas ................................ 19 1.1. El artefacto cultural en el ejercicio de la estética .......................................................................................... 22 1.2. Subjetividades postmodernas y apropiación musical .................................................................................... 27 1.3. Identificaciones colectivas e individuales ..................................................................................................... 34 1.4. La construcción narrativa de la experiencia .................................................................................................. 38 1.5. El cuerpo en las músicas populares urbanas ................................................................................................
    [Show full text]
  • El Baile: Un Lenguaje Dei Cuerpo Alejanciro U/!Oa Sanmiguel.'
    El baile: un lenguaje dei cuerpo Alejanciro U/!oa Sanmiguel.' RESUMO Es ei resultado de una investigación donde se cruzan Ia lingüística, Ia semiótica y ia antropologia urbana para estudiar ei baile como un lenguaje no verbal, una práctica social y un acontecimiento cultural, en los sectores donde es una forma de relación ( y no una moda) para Ias personas que lo disfrutan como una de sus actividades más importantes en Ia vida cotidiana ABSTRACT 11 is lhe result of an inveslígalion where they cross lhe linguistic One, lhe 123 semiotic and lhe urban anlhropology lo sludy lhe dance like a nonverbal language, a social practice and a cullural event, in lhe sectors where it is a forn7 of relalion (and not a fashion) for lhe peo pie who enjoy it like one their more imporlanl aclivilies in lhe daily life. Alejandro tuba Sanmiguel, licenciado en literatura, mestrado en linguística y espa6oi, mestrado en antropologia Untcamp, estudios de dobrado en comuncación y cultura UFRJ. Prolesor e investigador en Ia escuela de comunicacián social de Ia Universidad dei vaile desde 1980 hasta la fecha, en Ias áreas de escritura, seniiolinguistica, antropologia urbana, comanicación y educación. Na investigado sobre culturas populares relacionadas con Ia música en Ia ciudad, inlaginarios e identidades urbanas. CONTRACAMPO EDIÇÃO ESPECIAL / NÚMERO DUPLO Para los bailadores Que han hecho dei baile Un arte una pasión. Para los hombresy mujeres que se enamoraron bailando.... El cuerpo sabe más dei inundo que Ia conciencia. Introducción Durante Ia segunda mitad dei siglo XX y sobretodo durante Ias últimas décadas, se han desarroliado en ei âmbito académico una serie de estudios sobre Ia música popular contemporânea.
    [Show full text]
  • Redalyc.Música: Spanish Caribbean Music in New York City
    Caribbean Studies ISSN: 0008-6533 [email protected] Instituto de Estudios del Caribe Puerto Rico Moore, Robin Música: Spanish Caribbean Music in New York City Caribbean Studies, vol. 36, núm. 2, julio-diciembre, 2008, pp. 241-244 Instituto de Estudios del Caribe San Juan, Puerto Rico Available in: http://www.redalyc.org/articulo.oa?id=39215107022 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative WATCHING THE CARIBBEAN...PART II 241 Música: Spanish Caribbean Music in New York City Robin Moore University of Texas at Austin [email protected] Música. Produced by Gustavo A. Paredes, Jr. Directed by John D. Wise. NEP Productions, 1984. 59 minutes. espite its vague title, the orientation of Gustavo Paredes’ film Dis fairly specific: it focuses on the history and development of Latin jazz in New York City, and on the social meanings of Latin dance music to the Spanish-speaking immigrant community there through various decades. Intended for a general audience, the documentary considers the lives and artistic contributions of key individuals involved with music making in New York since the 1930s, a number of whom are interviewed directly by the filmmakers. The documentary includes an effective mix of performance footage, voice-over commentary, interviews with performers, with musicologists and sociologists, and period images from past decades that bring to life the context in which Latin jazz and salsa dance music developed.
    [Show full text]
  • Download File
    Reinterpreting the Global, Rearticulating the Local: Nueva Música Colombiana, Networks, Circulation, and Affect Simón Calle Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Simón Calle All rights reserved ABSTRACT Reinterpreting the Global, Rearticulating the Local: Nueva Música Colombiana, Networks, Circulation, and Affect Simón Calle This dissertation analyses identity formation through music among contemporary Colombian musicians. The work focuses on the emergence of musical fusions in Bogotá, which participant musicians and Colombian media have called “nueva música Colombiana” (new Colombian music). The term describes the work of bands that assimilate and transform North-American music genres such as jazz, rock, and hip-hop, and blend them with music historically associated with Afro-Colombian communities such as cumbia and currulao, to produce several popular and experimental musical styles. In the last decade, these new fusions have begun circulating outside Bogotá, becoming the distinctive sound of young Colombia domestically and internationally. The dissertation focuses on questions of musical circulation, affect, and taste as a means for articulating difference, working on the self, and generating attachments others and therefore social bonds and communities This dissertation considers musical fusion from an ontological perspective influenced by actor-network, non-representational, and assemblage theory. Such theories consider a fluid social world, which emerges from the web of associations between heterogeneous human and material entities. The dissertation traces the actions, interactions, and mediations between places, people, institutions, and recordings that enable the emergence of new Colombian music. In considering those associations, it places close attention to the affective relationships between people and music.
    [Show full text]
  • Redalyc.Discutiendo La Autenticidad En La Música Salsa
    Indiana ISSN: 0342-8642 [email protected] Ibero-Amerikanisches Institut Preußischer Kulturbesitz Alemania Ochse, Markus Discutiendo la autenticidad en la música salsa Indiana, núm. 21, 2004, pp. 25-33 Ibero-Amerikanisches Institut Preußischer Kulturbesitz Berlin, Alemania Disponible en: http://www.redalyc.org/articulo.oa?id=247018390003 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto Markus Ochse* Discutiendo la autenticidad en la música salsa Resumen: La salsa se desarrolló en base a música popular bailable cubana y puertorriqueña, y, uniéndose al jazz norteamericano, al folklore, al rock y al pop, se hizo un nuevo horizonte dentro de la comunidad de latinos de Nueva York a fines de los años 60 y durante los 70. Siendo mucho más que sólo música diver- tida para bailar, la salsa muy pronto se perfiló como un emblema de la identidad de latinos, y fue usada también como un concepto cultural y socio-político en muchas partes de América Latina. No obstante este desarrollo, a mediados de los años 80 la música ha cambiado hasta llegar a ser vista incluso como algo contra- rrevolucionario y carente de calidad estética, expresividad y pretensión, que ya casi no merece llevar el nombre de “salsa”. Este artículo trata sobre debates esté- ticos acerca de calidades musicales en términos de autenticidad que se llevaron a cabo en Cali, Colombia. Se intenta llegar a una deconstrucción de nociones esencialistas de autenticidad, considerando que la salsa en Cali no se hizo popu- lar porque haya representado de manera auténtica a su gente, sino que se ha hecho popular, más bien, por permitirle a la gente construir nociones de autenti- cidad, verdad e identidad, poniendo sus propios estándares estéticos a su dispo- sición.
    [Show full text]
  • Markus Ochse*
    * Markus Ochse Discutiendo la autenticidad en la música salsa Resumen: La salsa se desarrolló en base a música popular bailable cubana y puertorriqueña, y, uniéndose al jazz norteamericano, al folklore, al rock y al pop, se hizo un nuevo horizonte dentro de la comunidad de latinos de Nueva York a fines de los años 60 y durante los 70. Siendo mucho más que sólo música diver- tida para bailar, la salsa muy pronto se perfiló como un emblema de la identidad de latinos, y fue usada también como un concepto cultural y socio-político en muchas partes de América Latina. No obstante este desarrollo, a mediados de los años 80 la música ha cambiado hasta llegar a ser vista incluso como algo contra- rrevolucionario y carente de calidad estética, expresividad y pretensión, que ya casi no merece llevar el nombre de “salsa”. Este artículo trata sobre debates esté- ticos acerca de calidades musicales en términos de autenticidad que se llevaron a cabo en Cali, Colombia. Se intenta llegar a una deconstrucción de nociones esencialistas de autenticidad, considerando que la salsa en Cali no se hizo popu- lar porque haya representado de manera auténtica a su gente, sino que se ha hecho popular, más bien, por permitirle a la gente construir nociones de autenti- cidad, verdad e identidad, poniendo sus propios estándares estéticos a su dispo- sición. Summary: Salsa grew out of Cuban- and Puerto Rican-based popular dance music and, while embracing North American jazz, folklore, rock and pop, it be- came a new horizon among the Latino community in New York in the late 1960s and ’70s.
    [Show full text]
  • Salsa (Género Musical)
    Salsa (género musical) Saltar a: navegación, búsqueda Véase también: salsa Salsa son cubano, son montuno, jazz, jazz Orígenes afrocubano, chachachá, guaracha, musicales mambo, pachanga, rumba, guajira Orígenes Residentes del Caribe hispano y su culturales diáspora establecida en Nueva York Instrumentos instrumentos de percusión, de comunes viento y de cuerda Popularidad alta desde los años 1970 Salsa es el término usado a partir de los años 1970 para definir al género musical resultante de una síntesis de influencias musicales cubanas con otros elementos de música caribeña, música latinoamericana y jazz, en especial el jazz afrocubano. La salsa fue desarrollada por músicos de origen «latino» (latinoamericano) en el Caribe hispano y la ciudad de Nueva York. La salsa abarca varios estilos como la salsa dura, la salsa romántica y la timba. Índice • 1 Esencia • 2 Características • 3 Ritmo • 4 El término «salsa» • 5 Historia y expansión • 5.1 Orígenes e instrumentación • 6 El sello discográfico Fania • 7 Génesis y expansión de la salsa: cronología de temas • 8 La salsa después de los años 1970 • 8.1 Década de los años 1980 • 9 En Colombia • 10 En Venezuela • 11 En México • 11.1 De 1990 al presente • 11.2 La irrupción de la sensualidad • 11.3 Decaimiento de la sensualidad y escena actual • 12 Exponentes significativos • 13 Timba: la salsa en Cuba • 14 Salsa y otros ritmos • 15 Formas de baile • 15.1 Forma de baile cubana • 15.2 Forma de baile puertorriqueña • 15.3 Otras formas de baile • 16 Véase también • 17 Referencias • 18 Bibliografía •
    [Show full text]
  • Redalyc.Salsa Music As Expressive Liberation
    Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Berrios-Miranda, Marisol Salsa Music as Expressive Liberation Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 158-173 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716211 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Berrios(v7).qxd 3/1/05 7:33 AM Page 158 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Salsa) Salsa Music as Expressive Liberation1 MARISOL BERRIOS-MIRANDA ABSTRACT In the span of a singe decade, the 1970s, young people in urban centers all over Latin America came to embrace salsa music as their preferred musical style and expression. Salsa’s unprecedented international popularity resulted from the confluence of several distinct social conditions and historical events: the Puerto Rican dilemma of colonial status, the civil rights and black pride movements in the U.S., the Cuban revolution’s promise of upliftment for the lower classes, urban migration, and the need for a Latino alter- native to the hegemony of Anglo rock. In this paper I will argue that salsa’s popularity needs to be understood in terms of a musical sound and a social style that responded effectively to these circumstances, captured beautifully in the film Our Latin Thing. I propose, furthermore, that the colonial dilemma of Puerto Ricans in the island and in New York motivated their creative contributions to salsa, which they experienced as a form expressive liberation and decolonization.
    [Show full text]
  • Redalyc."Somos Cubanos!"
    Trans. Revista Transcultural de Música E-ISSN: 1697-0101 [email protected] Sociedad de Etnomusicología España Froelicher, Patrick "Somos Cubanos!" - timba cubana and the construction of national identity in Cuban popular music Trans. Revista Transcultural de Música, núm. 9, diciembre, 2005, p. 0 Sociedad de Etnomusicología Barcelona, España Available in: http://www.redalyc.org/articulo.oa?id=82200903 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Somos Cubanos! Revista Transcultural de Música Transcultural Music Review #9 (2005) ISSN:1697-0101 “Somos Cubanos!“ – timba cubana and the construction of national identity in Cuban popular music Patrick Froelicher Abstract The complex processes that led to the emergence of salsa as an expression of a “Latin” identity for Spanish-speaking people in New York City constitute the background before which the Cuban timba discourse has to be seen. Timba, I argue, is the consequent continuation of the Cuban “anti-salsa-discourse” from the 1980s, which regarded salsa basically as a commercial label for Cuban music played by non-Cuban musicians. I interpret timba as an attempt by Cuban musicians to distinguish themselves from the international Salsa scene. This distinction is aspired by regular references to the contemporary changes in Cuban society after the collapse of the Soviet Union. Thus, the timba is a “child” of the socialist Cuban music landscape as well as a product of the rapidly changing Cuban society of the 1990s.
    [Show full text]