RED HOT + CUBA FRI, NOV 30, 2012 BAM Howard Gilman Opera House
Music Direction by Andres Levin and CuCu Diamantes
Produced by BAM
Co-Produced with Paul Heck/ The Red Hot Organization & Andres Levin/Music Has No Enemies
Study Guide Written by Nicole Kempskie Red Hot + Cuba
BAM PETER JAY SHARP BUILDING 30 LAFAYETTE AVE. BROOKLYN, NY 11217
Photo courtesy of the artist Table Of Contents Dear Educator Your Visit to BAM
Welcome to the study guide for the live The BAM program includes: this study Page 3 The Music music performance of Red Hot + Cuba guide, a CD with music from the artists, that you and your students will be at- a pre-performance workshop in your Page 4 The Artists tending as part of BAM Education’s Live classroom led by a BAM teaching Page 6 The History Performance Series. Red Hot + Cuba is artist, and the performance on Friday, Page 8 Curriculum Connections an all-star tribute to the music of Cuba, November 30, 2012. birthplace of some of the world’s most infectious sounds—from son to rumba and mambo to timba. Showcasing Cuba’s How to Use this Guide diverse musical heritage as well as its modern incarnations, this performance This guide aims to provide useful informa- features an exceptional group of emerging tion to help you prepare your students for artists and established legends such as: their experience at BAM. It provides an Alexander Abreu, CuCu Diamantes, Kelvis overview of Cuban music history, cultural Ochoa, David Torrens, and Carlos Varela. influences, and styles. Included are activi- ties that can be used in your classroom BAM is proud to be collaborating with and a CD of music by the artists that you the Red Hot Organization (RHO)—an are encouraged to play for your class. De- international not-for-profit organization pending on your needs you may choose dedicated to fighting AIDS through pop to use the guide in its entirety or select culture. Founded in 1989 as a response sections that directly pertain to your class to the devastation wrought by AIDS on exploration. The overall goals of this guide a generation of New York artists and are: to connect to your curriculum with intellectuals, the Red Hot Organization standards-based information and activi- and over 400 artists, producers, and ties, to reinforce and encourage critical directors have contributed to over 16 thinking and analytical skills, and to pro- compilation albums, and related televi- vide you and your students with the tools sion programs and media events to raise and background information necessary donations totaling more than 10 million to have an engaging, educational, and dollars for HIV/AIDS relief and awareness inspiring experience at BAM. around the world.
Introduction2 The Music Salsa In the 1970s, looking for a way to integrate and promote Latin music, STYLES OF CUBAN MUSIC Izzy Sanabria began using the word “salsa” to identify the infectious Cuban Son rhythms and sounds that were taking Son is by far the most popular and the city by storm. Since then it has influential musical style to come out of become a mainstream term for popular Cuba and the oldest national form. Son Latin dance music. means “sound” and as a style it incorpo- rates both Spanish and African influences Timba in its instrumentation, rhyme-scheme, Timba is the latest evolution of Cuban and the way it uses call and response. music. Since its emergence in the early Although son dates back to as early as 1990s timba has become the most popu- the 16th century, modern son first lar style of dance music in Cuba. It com- appeared in the eastern part of Cuba bines various types of Cuban music with in the late 19th century. hip-hop, rap, American funk, and R&B. The first style of son was the changüí, Listening: which was lively and syncopated and Teachers are encouraged to play the featured the tres, a type of guitar that enclosed CD containing music from originated in Cuba, bongos, the African many of the artists performing at marímbula (a thumb piano), maracas, BAM’s Red Hot + Cuba. and a metal scraper called a guayo. As the son developed and spread beyond Track 1. Havana, the African marímbula was No Me Importe (Pa Mi Gente), replaced with bass, guitar, and claves. Alexandar Abreu y Havana D’ Primera Rumba Track 2. Rumba is a unique blend of rhythm, Pasaporte, dance, and poetry. It begins with a Alexandar Abreu y Havana D’Primera soloist chanting a series of meaning- Track 3. less syllables called dianas, and as it Habaname, Carlos Varela progresses it is held together by a clave beat and Congolese drumming with Track 4. traditional call-and-response in either Por Ti Seré, David Torrens flamenco or Moorish styles. Cuban Track 5. rumba laid the foundation for many Ni De Aquí, Ni De Allá, David Torrens other distinct styles of Latin music, such as Latin hip-hop and salsa. Track 6. El Bufón y El Trágico, Mambo David Torrens Mambo can be traced back to the Euro- Track 7. pean-inspired Danzón, a music style of La Conga De Juana, Kelvis Ochoa the late 19th century created by Miguel Faílde Pérez, and the dance form—a style Track 8. of European social dance—that accom- Calabozo, Kelvis Ochoa panied it. The Danzón began with an Track 9. Introduction (four bars) and Paseo (four Ilusionada, Kelvis Ochoa bars), which were repeated and followed by a 16-bar melody. Mambo Danzón, the Track 10. form of popular mambo still played and Echale Limón, NG La Banda danced to today, was created by Orestes Track 11. López in 1938 by adding elements of big Amor Cronico, CuCu Diamantes band brass to the traditional Danzón.
Chachachá The chachachá is a type of mambo that was created by the Cuban violinist En- rique Jorrín in the 1950s. Jorrín created the chachachá by moving the accent from the fourth eighth note—where it was nor- mally found in the mambo—to the first beat, thereby making it easier to dance to. Introduction3 THE ARTISTS
Photo by Mark Seliger
Photo Courtesy of the Artist Photo Courtesy of the Artist CUCU DIAMANTES
ALEXANDER ABREU JOSE LUIS “EL TOSCO” CORTES Born of Spanish, African, Chinese, and French heritage, CuCu Diamantes For more than two decades, Alexander José Luis “El Tosco” Cortés is a flutist is a fascinating singer-songwriter and Abreu has nurtured a behind-the- and band leader from Cuba. He is one actress from Cuba. Together with scenes reputation as one of the most of the originators of the Cuban musical producer and guitarist Andres Levin, sought-after studio musicians in Cuba. style Timba, a popular dance music Diamantes co-founded the sizzling-hot Today, he has finally stepped into the genre developed in the early 90’s de- Latin fusion band, Yerba Buena, and spotlight as a bandleader on a mis- scribed in his own words as a “rhythmi- was directly responsible for garnering sion: to rescue Cuban dance music cally dense, relentlessly energetic music major recognition and popularity for and recapture the thrilling energy from played by highly skilled musicians for a the band, including a Grammy nomina- its modern heyday during the 1990s. demanding dance-floor audience, with tion, and special request performances Three years ago, Abreu pulled together lyrics that draw from and become part with artists such as Dave Matthews, an ensemble of seasoned musicians of the language of the streets.” He is a Ray Charles, Juanes, and Celia Cruz. who had played with some of the best founding member of the group NG After 8 years as Yerba Buena’s principal bands of that exciting era, a golden La Banda and an alumnus of Cuban vocalist and songwriter, Diamantes age of contemporary Cuban salsa and super groups Irakere and Los Van Van. released her first solo record, “CuCu- timba. Concerned about the decline of Land” in March 2009 to much antici- Afro-Cuban dance music on its own pation. Smart, sexy, and fierce, CuCu home turf, Abreu decided to pick up Diamantes’s music is an intoxicating the standard once carried around the mix of NYC downtown funk and old globe by the bands he had played school Cuban glamour and passion— with, such as Paulito FG y Su Elite a dynamite combination which drives and Isaac Delgado. audiences to dance with joyful aban- don. Diamantes’s talented band is comprised of a full range of horns, percussion, and guitar, giving a big, electric sound to her live performances.
Background4 Photo by Pedro Avascal Photo Courtesy of the Artist Photo by Lauren Volo DAVID TORRENS KELVIS OCHOA ANDRES LEVIN From the same generation as Habana Kelvis Ochoa was born into a very Abierta, singer–songwriter David Tor- (Co-producer) Andres Levin is a musical family in the eastern part réns is famous for his passionate and Grammy-winning record producer, of Cuba. He was the first member of fiery performances. Based in Mexico, band leader, filmmaker, and philanthro- the group Habana Abierta to record a but spending a lot of time in Havana, pist. With Cuban-American Grammy- solo album, in collaboration with Alejo his work is so fusioned that many say nominated singer and filmmaker CuCu Stivel. He´s best known for expressing it’s almost impossible to classify. Diamantes, he founded the band Yerba every-day themes in his music, such Aficionados talk about the seamless Buena. Levin has produced and written as love, social contradiction, nostalgia, movement between pop, rock, and for music greats including Chaka Khan, and family. He blends Cuban or Latin trova that thread through his most pop- Caetano Veloso, David Byrne, Natalie styles of music including son, meren- ular songs, and which blend Caribbean Merchant, and others, and he won a gue, sucu–sucu, guaracha, milonga, rhythms such as mambo, chachachá, 2009 Grammy Award for his produc- and cumbias, with Chilli Peppers–style bomba, samba, and reggae. tion of the In the Heights cast record- funk and pop–rock beats. Notable ing. In 2010, Levin produced and collaborations have been with Pavel You can also hear the influences of Bola curated Celebrate Brooklyn Presents: Urquiza, Roberto Carcassés, Yusa, and de Nieve, Djavan, and Donato Poveda. Field of Dreams (Un Mundo Nuevo) Descemer Bueno. His music has been Collaborations include Amaury Gutiér- in Prospect Park, along with the included on various film soundtracks: rez, Roberto Carcassés, Kelvis Ochoa, Bruce High Quality Foundation. Levin Vampiros en La Habana (Juan Padrón), and José Luis Medina. His two albums and Diamantes are the founders of the 2005 Barrio Cuba (Humberto So- include: Mi poquita fé (1998) and Ni Music Has No Enemies, a nonprofit lás), and more recently Habana Blues de Aquí ni de Allá (2001). organization designed to encourage (Benito Zambrano). For the latter, he and promote philanthropy in the won two prizes in Spain—the Goya and entertainment industry. the Premio de la Música 2006 Prize.
Background5 THE ARTISTS
Photo by Olivia Prendes Photo courtesy of the artist Photo Courtesy of the Artist
CARLOS VARELA OSDALGIA ROBERT “CUCURUCHO” RODRIGUEZ Cuban singer-songwriter Carlos Varela is Osdalgia has written songs for well-known throughout the Latin world various musical productions, films, Roberto Carlos Rodriguez, better where he is celebrated for his songs that and television programs. She directs known as “Cucurucho,” has for the have been likened to the “essence of a her ensemble, a group that unfolds last 12 years, been the composer generation.” In the 1980s he joined the musically as the stage and the public and pianist for the popular band Nueva Trova musical movement, a politi- demand. She is a performer of trad- Los Van Van. He has collaborated with cal and poetic musical genre connected itional and popular musical genres and several outstanding artists including with the Cuban Revolution. American is described by the Cuban press as “The La Charanga Habanera, Pacho Alonso, audiences frequently refer to Varela as New Voice of Cuba.” Isaac Delgado, and Paulo F. G. among “Cuba’s Bob Dylan,” moved by his well- others. Cucurucho has performed with spring of powerful allegorical alchemy international artists such as Diego el Ci- and emotional truth. gala and Bebo Valdes. At the moment he is completing Neither Before nor After, a DVD of traditional Cuban music, which will include musicians such as Amadita Valdés, Fabian Garcia Caturla, and others.
Background6 Background7 THE HISTORY Photo by Lauren Volo
The history of Cuban music can be traced back to the Spanish colonization of the land in the early 1500s. The Spaniards brought not only their European customs and ways of life to Cuba, but also, their music, instruments, and dance.
Records indicate that in 1526, the first known shipment of African slaves for sale arrived in Cuba. By 1534, more than 1,000 Africans lived as slaves working on sugar plantations and in mines. As the slave populations grew, they were expected to learn the language, practice the religion, and follow the customs and laws of their Spanish overseers. What would result over time is the fusion of these two cultures and their music. The European-influenced music of the Spaniards became infused with elements of African music—percussion, call-and-response vocals, polyrhythm, syncopation, and improvisation—and the Africans became fluent in the language, customs, and ways of their masters.
Cuban music is primarily divided into two areas: folkloric and popular. The folkloric music was largely influenced by sacred and secular African music. The popular music spans multiple styles and truly represents the process of “creolization.” Creolization refers to new forms and identities that result when two cultures, such as African and Spanish, actively select the cultural elements that become part of a new form or cultural identity. Cuban music and dance styles that came out of this creolization process include: conga, rumba, son, mambo, and chachachá. Salsa, a word coined in the 1970s in New York City to describe the Cuban dance music that was sweeping the globe, and timba, the latest incarnation of Cuban fusion (a style which incorporates elements of American hip-hop and rap), continue to thrill Latin music and dance lovers worldwide. Music8 A TIMELINE OF CUBAN MUSIC HISTORY
1492 1901 Christopher Columbus lands in Cuba. Cuba becomes an independent republic. 1511 1930 Cuba becomes a Spanish colony. Don Azpiazú’s Havana Casino Orchestra travels to New York and records “El 1526 Manicero” (“The Peanut Vendor”). It The first known shipment of slaves becomes the first Cuban record to sell for sale arrives in Cuba. more than a million copies and kick- starts a Cuban music craze in the U.S. 1550 Spanish colonists settle in Cuba and bring 1938 European dances and music with them. Desi Arnaz brings the conga (both music and dance) to the U.S. in a 1570 series of concerts in Miami. The oldest known Cuban song, “Son de la Má,” is composed. 1947 Cuban composer and conga virtuoso 1580 Chano Pozo joins Dizzy Gillespie’s Spanish orchestras in need of skilled band onstage at Carnegie Hall in the musicians begin to enlist non-white first attempt to fuse elements of jazz musicians. and Cuban music.
1605 1950 Gonzalo de Silva becomes the first Israel “Cachao” López brings big band professional music teacher in Havana. mambo to the U.S., setting off another Cuban music craze. 1728 The Real y Pontifica Universidad de 1954 la Habana (University of Havana) is The Cuban chachachá sweeps the U.S. founded, establishing a center for musical instruction and performance. 1959 The Cuban Revolution brings Fidel 1811—1820 Castro’s communist government into The largest importation of African slaves power. occurs—roughly 161,000 slaves. 1970 1870s The term “salsa” gets coined in The rumba emerges in Havana and New York City to describe a variety of begins to spread in Cuba. popular styles of Cuban dance music. Salsa music and dance becomes an 1888 international phenomenon. Cuba outlaws slavery. They are the last country in the New World to do so. 1990s Timba, a fusion of old and new 1895 music styles emerges. Cuban War of Independence. Music 9 CLASSROOM CONNECTIONS
Santería The Music Industry Santería, an old-world religion that As a class, brainstorm and create a list originated with the Yoruba people of of jobs available in the music industry. Africa played an integral part in the Once the list has been compiled, have development of Cuban music. The students choose one job and research Yorubas, brought to Cuba as slaves, the following about it: were expected to adopt and convert to the religion of their masters—Catholicism. What does the job entail? Trying to find a way to bridge their Yoruba What training or educational religion with Catholicism, they derived background is required? a hybrid religion which melded the two and linked their deities (called Orishas) What skills are required? to the Roman Catholic saints. Music, and What is the average salary? especially percussion, was an inherent Who are some of the leaders doing part of the religion, and by the 20th this work in the industry? century, elements of Santería music began to appear in popular and folk forms. Students can report back on their findings in either a traditional report Have students research Santería, its or a class presentation. customs, deities, beliefs, and rituals, and how music plays a role in them. Blueprint: Careers and Lifelong Learning
Blueprint: Making Connections Latin Dance The Pioneers Many, if not all, of the Cuban musical styles explored in this guide are inextricably Have students choose a Cuban musician linked to dances that correspond. Watch from the following list to do research on: the documentary Mad Hot Ballroom, which Celia Cruz, Chucho Valdéz, Don Azpiazu, Israel “Cachao” Lopez, Desi Arnaz, and chronicles a New York City arts program Demaso Perez Prado. Students should in which students are taught many of the investigate the following about these traditional Latin dance styles associated musical pioneers and prepare a short report with the Cuban music this guide covers. or class presentation sharing their findings: What are their origins and background? Blueprint: Community and Cultural Resources How did they get involved in music? What was their training like? What contribution did they make to the Cuban music industry?
Blueprint: Careers and Lifelong Learning, Making Connections
Buena Vista Social Club Before or after your visit to BAM have students watch Wim Wender’s award-winning and critically acclaimed documentary Buena Vista Social Club.
This documentary is an inside look at the lives of the Cuban musicians behind the Grammy-winning smash hit album of the same name, and their journey from the Havana barrios to sold-out concert stadiums around the world. This film can be used as an introduction to Cuban music and history prior to the performance or to deepen and expand student knowledge about Cuban Photo: El Tosco culture after the BAM performance. Courtesy of the artist
Blueprint: Making Connections Curriculum10 Connections Music Vocabulary RESOURCES
Provide students with a list of the WEB following vocabulary words: polyphonic, Buena Vista Social Club homophonic, staccato, legato, major, www.buenavistasocialclub.com/ and minor. Using the internet, have www.pbs.org/buenavista/ students identify and define each word. Choose one of the songs from the CD Cuban Music included with this guide and as a class, worldmusic.nationalgeographic.com listen and try to identify examples of www.mamborama.com/cuba_music.html these musical terms in the selected song. BOOKS Blueprint: Music Literacy Cuba and Its Music: From the First Drums to the Mambo by Ned Sublette The Performance In Context BIBLIOGRAPHY Have students work in small groups Conner, Ron. “Musical Atlas of Cuba: to research, prepare, and deliver an oral History.” PBS.org. PBS, Web. 18 Sept. class presentation on the history, culture, 2012.
Have students create and share a video Olavo, Rodriguez Alen. “Cuban review critiquing the performance. Instruments.” Salsablanca.com. Salsa Blanca: Cuban Music & More, Blueprint: Music Literacy 2009. Web. 18 Sept. 2012.
Curriculum Connections11 Major support for BAM Education programming Education programs at BAM are supported by: Your tax dollars make BAM programs possible provided by: Barker Welfare Foundation; Tiger Baron through funding from: Foundation; The Bay and Paul Foundations; Constans Culver Foundation; Charles Hayden Foundation; Emily Davie and Joseph S. Kornfeld Foundation; Tony Randall Theatrical Fund; The Jerome Robbins Foundation, Inc.; May and Samuel Rudin Family Foundation; Rush BAM would like to thank the Brooklyn Delegations Philanthropic Arts Foundation; Michael Tuch Leadership support for BAM Education Programs of the New York State Assembly, Joseph R. Lentol, Foundation; and Turrell Fund. is provided by the Irene Diamond Fund and the Delegation Leader; and New York Senate, Senator Leona M. and Harry B. Helmsley Charitable Trust. Velmanette Montgomery, Delegation Leader. Education programs at BAM are endowed by: Lila Wallace-Reader’s Digest Endowment Fund Expansion of BAM’s Community and Education The BAM facilities are owned by the City of New for Community, Educational, & Public Affairs Programs made possible by the support of the SHS York and benefit from public funds provided Programs; Martha A. and Robert S. Rubin; Foundation. through the New York City Department of Cultural William Randolph Hearst Endowment for Affairs with support from Mayor Michael R. Education and Humanities Programs; Irene Leadership support for school-time performances, Bloomberg; Cultural Affairs Commissioner Kate D. Diamond Fund; and The Robert and Joan pre-show preparation workshops and educational Levin; the New York City Council including Council Catell Fund for Education Programs. film screenings is provided by The Simon and Eva Speaker Christine C. Quinn, Finance Committee Colin Foundation and Lemberg Foundation. Chair Domenic M. Recchia, Jr., Cultural Affairs Committee Chair Jimmy Van Bramer, the Brooklyn Delegation of the Council, and Councilwoman Letitia James; and Brooklyn Borough President Marty Markowitz.
About BAM Department of Education with BAMfamily concerts, the BAMfamily Book In September 2012, BAM launched On Truth & Humanities Brunch, and the annual BAMkids Film Festival. (and Lies), a series hosted by philosopher Simon In addition, BAM Education collaborates with Critchley that explores the ambiguity of reality with BAM Education is dedicated to bringing the the Bedford-Stuyvesant Restoration Corporation prominent artists and thinkers, as a co-presentation most vibrant, exciting artists and their creations to provide an arts and humanities curriculum to with the Onassis Cultural Center NY. to student audiences. The department presents students who perform on stage in BAM’s performances and screenings of theater, dance, DanceAfrica program. Humanities at BAM also include year-round literary music, opera, and film in a variety of programs. programs: Unbound, a new fall series presented In addition to the work on stage, programs take Humanities at BAM in partnership with Greenlight Bookstore that place both in school and at BAM that give context celebrates contemporary books and authors from for the performances, and include workshops with BAM presents a variety of programs to promote across the literary spectrum, and the ongoing Eat, artists and BAM staff members, study guides, and creative thinking and ongoing learning. The Drink & Be Literary series in partnership with the classes in art forms that young people may never Artist Talk series, in conjunction with mainstage National Book Awards, in the spring. have had access to before. These programs include programming, enriches audiences’ experience Shakespeare Teaches, AfricanDanceBeat, Afri- during the Next Wave Festival and the Winter/ The department also hosts master classes, canMusicBeat, Dancing into the Future, Young Spring Season. The Iconic Artist Talk series, including the Backstage Seminar, a series of Critics, Young Film Critics, Brooklyn Reads, Arts launched as part of BAM’s 150th anniversary workshops on the process of theater-making & Justice, and our Screening programs, as well as celebrations, features iconic artists and companies with BAM’s production staff and guest artists. topically diverse professional development work- examining the evolution of their work at BAM over shops for teachers and administrators. the years through on-screen projections of original BAM Education also serves family audiences footage and images from the BAM Hamm Archives.
Department of Education and Humanities Staff: Study Guide Writer: Red Hot +
Stephanie Hughley: VP Education & Humanities Nicole Kempskie is a playwright, lyricist and at NYU, was a contributing writer and professional Suzanne Youngerman, Ph.D.: Director of Educa- theatre and media educator. She currently man- development leader for the DOE’s Moving Image tion & Family Programs ages the School & Family Programs at the Paley Blueprint and served as a juror for the children’s John P. Tighe, DMA: Assistant Director Center for Media, is a teaching artist for BAM, a division of the International Emmy Awards. Violaine Huisman: Humanities Director lead facilitator for the Broadway Teacher’s Lab, John S. Foster, Ph.D.: Education Manager and is an Adjunct professor in CCNY’s Education Gwendolyn Kelso: Program Manager Theatre program. She has worked as a consultant Jennifer Leeson: Administrative Coordinator and teaching artist for NYC DOE, Arts Connection, Copyright © 2012 by Brooklyn Academy of Music Nathan Gelgud: Box Office Manager/Program TADA, Brooklyn Arts Exchange, Step-Up Drama, All rights reserved. No part of this book may be Associate the McCarter Theatre, North Shore Music Theatre, reproduced or transmitted in any form or by any Lesley Hunter: Administrative Assistant VP Music Theatre International, Tams-Witmark, Dis- means, electronic or mechanical, including photog- Cuba Rebecca Dragonetti: Administrative Assistant ney, TheatreworksUSA, Broadway Classroom, and raphy, recording, or by any information storage and Molly Silberberg: Humanities Assistant is the co-founder of Brooklyn Children’s Theatre. retrieval system, without permission in writing from Rebekah Gordon: Education Assistant Her most recent full-length musical, Helen on the Brooklyn Academy of Music. Hannah Max: Humanities Intern 86th St., premiered Off-Broadway in the spring of 2010. She holds an MA in Theatre and Sociology Creditsfrom the Gallatin School