Volume-7-No-3

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iro y Maraca

Volume 7, Number 3 July 2003

A Publication of the Segunda Quimbamba Folkloric Center, Inc.

La Monoestrellada in the Lone Star State: The Meteoric Rise of Austin's Puerto Rican Folkloric Dance By Juan Cartagena

In the southern part of Texas, San Antonio and beyond, three flags with slow, undulating waves in a hot, unforgiving Texan sun are prominent in airports and other locales. In the center, the stars and stripes hold court. To the left, the unflinching waves of the lone star state flag of Texas is noticeable. To the right are the proud red, white and green colors of the bandera de Mexico. The flags are a clear reminder of the profound relationships, tor- tured and at times complementary, between Texas and the land of Aztlan. About 70 miles north in Austin, Texas, the impact of Mexican life and culture within the state capitol does not wane, despite the city's reputation as the most diverse of Texas' communities. It is representative of the extensive and ever growing Mexican influence in all things Latino within the United States; a growing influence that every Latina and Latino should recognize within the U.S. — that the Latinization of the United States is dominated by Mexico, no matter how prominent and com- mercialized Cuban and Puerto Rican images have manifested themselves in recent years. It is the music of Mexico and its offshoots, banda and norteno music that is far and away the biggest selling music among Latinos in this country. For decades now, Mexican Americans have composed approximately 60% of the Latino population of the United States. In 2000 Mexicans were over 75% of all Latinos in Texas. And the lifeblood of Mexican American influence is Texas first; California, New Mexico, second. (over)

Adentro: Inside: La Monoestrellada en Texas: La Subida Veloz del La Monoestrellada en Texas: La Subida Veloz del Puerto Rican Folkloric Dance (resumen), pag. 5 Puerto Rican Folkloric Dance (Spanish summary), p. 5 Resenas, pag. 11 Reviews, p. 11 Grupos de Bomba y Plena, pag. 12 Bomba & Plena Groups, p. 12 So it was a welcome sight to see Puerto Rican ed groups that are exclusively, or predominately, bomba flags flowing in rhythm in a dance and music perform- and/or plena based. In fact, we've always premised the ance in July 2003 in the heart of Austin's downtown dis- inclusion of bomba and plena groups in our listing on the trict, considering that Boricuas compose only one percent last page of each issue on the ability of those groups to of all the Latinos in the state. The monoestrellada present bomba or plena in a live setting. It is a bright line boricua flag was provided courtesy of Puerto Rican test that may exclude excellent dance groups who, for Folkloric Dance and Cultural Center, a relatively new but lack of resources, cannot find the drummers and guitarists successful boricua dance troupe in the heart of Texas that necessary to present our music in its full power. In those has maximized the power of the Internet, and a void left instances, recorded music often provides the bridge to by many Puerto Rican groups in the U.S. to present full- bomba and plena authenticity and many Puerto Ricans fledged dance and live musical performances of the learn the dances of their ancestors, nonetheless. danza, seis, bomba and plena in a folkloric medium However, the energy of live Puerto Rican music, its cua joined annually by excellent musicians and dancers from and its pandero is what separates many dance troupes in Puerto Rico and New York. the United States. Our criterion is thus a way of recog- nizing authenticity and promoting the drums, drummers The ascent of Puerto Rican Folkloric Dance, and drum makers of Puerto Rico. When Ana Maria founded in 1997 in Austin, is impressive. It quickly Maynard informed me a few years ago that her Austin secured funding from the National Endowment of the troupe was at that level, we were happy to include them. Arts in D.C., the Texas Commission on the Arts, the Now after an eyewitness account of their work in Austin, Austin Arts Commission and the Institute of Puerto Rican the story of Puerto Rican Folkloric Dance can be shared Culture in San Juan, among others, to establish a series of with our bomba and plena fans. artists-in-residence who eventually perform jointly in a dance extravaganza in July. In 2001 Modesto Cepeda PRF Dance: A Treasure in Texas and members of Cimiento Puertorriquetio came to Juan Gutierrez of Los Pleneros de la 21 called teach and perform in Austin. In 2002 it was Los Pleneros them a "treasure," the Austin American Statesman called de la 21 and this year it was Guateque — Ballet them "cultural ambassadors" and a panelist for the Austin Folclorico de Puerto Rico. It is important to note that Arts Commission noted how fast and far they progressed the residency programs last a week in some cases — in such a short time. Truth is that PRF Dance has enough time for intensive instruction. How many U.S. exceeded expectations. In just over five years, Ana Maria based Puerto Rican cultural dance groups can match such Maynard has parlayed her incredible organizational and an infusion of top-shelf artistic folkloric talent in so short leadership skills, along with her passion for Puerto Rican a period of time? How many bomba and plena groups in arts, into a recognized dance entity. Her website this country amass the funds necessary to import veterans (www.prfdance.org) alone receives 1,400 hits per month. of this caliber? Our collaboration at Giiiro y Maraca with PRF Dance goes back years and it started with introductions online to Puerto Rican Folkloric Dance is the product of find the best sources of information on dance, drums, the leadership provided by its founder, Ana Maria groups, costumes, videos, for Puerto Ricans throughout Maynard, of the Bronx and Caguas, whose employment the U.S. In short time, Maynard maximized the power of at IBM took her to the center of Texas, of all places. This the Internet to create a network of contacts and support leadership allowed the nascent dance group to position for her new dance group. Add to this the groundwork of itself among the small universe of Puerto Rican cultural research she conducted in Puerto Rico with numerous exponents in the U.S. in a way that maximized the power bomba, plena, jibaro and folkloric groups and you had of the Internet through its website, parlayed its ability to the makings of a Puerto Rican performance group that offer a full complement of Puerto Rican musical expres- would be noticed. sion from the mountains to the coasts, and lastly, highlighted its location outside of typical Puerto Rican com- Another indicator of this meteoric rise is the annu- munities. al celebration in July hosted by PRF Dance that com- bines excellent professional Puerto Rican performers For Giiiro y Maraca this is our profile of a per- with her growing dance and music company. These vis- formance troupe that offers bomba and plena in a sup- iting artists fill a gap in PRF Dance that will eventually portive role. All of our previous profiles have highlight- be met: they provide live music accompaniment to the 2 dance troupe in limited situations. At present PRF Dance has had with various professional groups, such as, the can hold its own in plena and bomba but is still looking West African Drum & Dance Ensemble of Austin in for a cuatro player to complete the musicians for its 2000; Modesto Cepeda and jibaro music. Texas is obviously not the Northeast or C i m i e n t o Florida. What is clear is that this ambitious performing Puertorriquerio in company will be able to mee this and other challenges. 2001; the chorus of the Escuela Libre And there is no lack of ambition in Maynard's de Miisica, and troupe. The budget for the 2003 "Celebrando 2003 with Los Pleneros de Guateque Ballet Folklorico de Puerto Rico" was $84,000 la 21, both in alone, a sum far exceeding the budgets of numerous folk- 2002; and loric groups in and outside of Puerto Rico. Guateque in 2003. Last year in July 2002 Ana Maria Maynard launched a 5-year capital campaign to secure a physical All of this location for PRF Dance for its rehearsals and a school in started with the Austin to teach Puerto Rican folkloric dance and music to vision of one woman, people of all backgrounds. This year in February 2003 Ana Maria Maynard in she opened the Puerto Rican Folkloric Dance & 1997 that grew to a nucleus of Cultural Center more than four years ahead of schedule! three dancers in January 1998 that then grew to a full The stars were aligned when the director of the Tapestry dance and music troupe today. It started with a vision of Dance Company, Acia Gray, offered a way to secure a providing a view of Puerto Rico — the beauty of the 1,000 square foot space in their building for PRF Dance. island, its traditions, and its culture — to the greater Austin community. "It's a little piece of Puerto Rico right here The new home of PRF Dance is located in an in Austin. And it is in a community that cares. There's a environment where dance reigns. Multiple studios greet sense of family in this community which is always there, the visitor with dance students seriously studying their but especially when our children and teenagers perform," craft. The space reserved for PRF Dance is all polished notes Ana Maria. floors and mirrored walls. Puerto Rican flags and PRF Dance memorabilia lined the other walls: T-Shirts, bags, This sense of community is instilled in the per- instructions on the care of dance costumes, and schedules formance company that currently counts on twelve everywhere. The program schedule for 2003 — 2004 dancers and eight musicians, plus Ana Maria Maynard included "Traditional Dance & who not only dances and choreographs but also plays Culture — Children, piano, guitar, cuatro, pandero, barril de bomba, and sings Teens, Adults," chorus. About three quarters of the troupe is Puerto "Salsa Dance Rican. All the musicians are Boricua but the dancers also Class," " Music are African-American, Mexican, Venezuelan, Haitian, & Percussion Jamaican and from other mixed backgrounds. One such Programs dancer is Tony Merriwether, 15, a young African- Student thru American dancer that has lived in Austin for more than 5 Professional," years and been with PRF Dance for more than two years. "Youth Choir Currently a sophomore in high school, Tony was invited — Children & to audition for the troupe after participating in other Teens," and dance programs at a local dance studio. He learned his "Workshops in first bomba dance moves through his participation in the Puerto Rican artist-in-residence program that brought performers with Studies." Posters Los Pleneros de la 21 to Austin, notably Roberto adorned the other Cepeda. It was his first contact with dance performance walls commemorating to live drumming. "It is very special for African- the performances in Sammy Lopez Americans in Austin to see and hear our Puerto Rican Austin that PRF Dance dances. They are often surprised and proud of the contri- I (cont. p. 4) I butions that Africa has made to Puerto Rican culture. girls, "Las Semillitas." Now in Austin for over four And they're happy that we Puerto Ricans are proud to years, Gladys has been in PRF Dance for three years. show it," notes Ana Maria. Plena and jibaro dances were common in Chicago but bomba dance is something she learned in Texas. "My China Smith, 27, is now a senior dancer and prin- favorite dances are yuba in bomba, and then the dances of cipal member of the dance company at PRF Dance. Her guinea, mazurka and polka from the mountains," she experience with the group has made her really blossom notes. She considers the yuba more of a challenge into a dancer, student and now dance teacher. "This because it isn't as common as sica and it's tempo allows group is part of my life now and anyone who knows me her to fully develop her dance moves. knows that they have to accept it because it's me. . . It has inspired me to do so much in dance, to learn ballet, mod- Santurce born Maria Rodriguez, one of the lead ern dance and jazz," she says. The hard work has paid off singers with the company, has seen PRF Dance really for China who this summer was the dance instructor and progress in the three years she has been with them. "It's choreographer for a children's production of the Lion because we're not a group. We're a family. All of us King. Growing up in Austin with family that traces its want to show the people of Austin what Puerto Rico is roots to Haiti and Jamaica, dancing was always a part of about. We have the same goal in mind and we are here her family. Salsa and merengue were constant rhythms because we want to be here, not for any profit." Maria that she learned as well. So when she first heard Ana grew up in song in Puerto Rico playing guitar and singing Maria Maynard announce the opening of a new dance in high school, joining la Tuna de Bayamon while there group at a party for the arts in Austin, she jumped at the and continuing her singing in Texas first with Dario y su chance and became one of PRF Dance's earliest mem- ComboRican in Killeen then with Ritmo Latino in bers. It was her first exposure to formal dance instruc- Austin. For the Rodriguez's, PRF Dance is a family tion. "Actually I'm never really nervous on stage. For commitment. Maria's husband, Roberto Rodriguez plays me it feels more natural to be dancing on stage than to be percussion when needed, her son Roberto Rodriguez, Jr. off stage." China appreciates all of the dance styles with- plays and teaches bomba, her daughter, Sixmarie in Puerto Rican culture and she especially appreciates the Rodriguez was the first one to enter the group as a dancer musicians that make them look so good. Dancing bomba and has now returned. And it keeps going: her nephew, is another one of her favorites because it allows her to be Sammy Lopez is a percussionist in the group and Felix free, to be more expressive. She got her bearings in real Lopez, a singer, is her husband's brother-in-law. bomba, that is, bomba to live drummers through the Cepeda family, Brenda Cepeda, daughter of Modesto And this sense of community is paramount with- Cepeda and through Nellie Tanco of Los Pleneros de la in the performance company. "Lots of love and respect 21. "She was so calm and cool on stage, and when she here," notes Ana Maria. sang she was such an inspiration to me. She had us in tears in the wings waiting to dance," she says of Nellie PRF Dance: Live in Performance with Tanco, one of the bright spots of the Guateque New York based bomba and plena Serenity filled the hall that ensemble. Saturday afternoon as the performers of PRF Dance gathered "What brings me back to on stage for last minute sound this dance company, and makes me checks and choreographic adjust- proud, is the dancers that we have," ments. Ana Maria Maynard, notes Gladys Cruz, another dancer choreographer for PRF Dance, in the group. "We have a family and Joaquin Nieves Caldero, her here and each one has something to counterpart for Guateque, pro- contribute." Born and raised in jected tranquility even during the Chicago's Humboldt Park to Puerto last minute instructions. As a Rican and Mexican parents, Gladys testament to the diversity of her grew up surrounded with dance. dance troupe, Maynard's crucial Her mother, Natividad Perez, Maynard & Guateque: Damian Morales, Ana Maria Maynard, instructions to her dancers were founded a dance group of young Irving Santiago, Joaquin Nieves Caldero, Eduardo Maldonado, in English amid the Luis Pena, Mildred Alvarez, 2003 I (cont. p. 9) 1 4I La monoestrellada boricua en Texas: de mexicanos en los Estados Unidos tenemos que empezar con Texas primer°, y despues, California y La subida veloz del Puerto Rican Nuevo Mexico. Folkloric Dance (resumen) Por eso es que la apariencia de la bandera boricua, ondeando al ritmo de plena, en el centro de La parte sureila de Texas, de San Antonio pa' Austin en Texas en julio del corriente, fue algo inespera- bajo, goza de una influencia mexicana que se puede ver do considerando tambien que los boricuas son solo un hasta en las banderas que adornan sus aeropuertos por ciento de la comunidad latina en el estado. y otros lugares gubernamentales. A Esta plena en Austin, junto con la veces hay tres banderas ondeando monoestrellada boricua, llegaron en un sol inmisericordioso. En cortesia del Puerto Rican el centro la estadounidense Folkloric Dance & Cultural ocupa la posicion pri- Center, un centro con poco mordial. De un lado la anos de trabajo que ha monoestrellada de hecho un trabajo buenisi- Texas evidencia su mo debido a su capaci- resistencia. Y de dad de recalcar al otro lado se ye el 01-- maxim() el Internet, de rojo, blanco y atraer folcloristas y verde orgulloso mfisicos puertor- de Mexico - riquenos de la prueba incon- primera para fundible de la Austin, y de llenar presencia per- un vaci6 en la dias- manente del pora para grupos de pueblo mexi- baile capaz de pre- cano en Texas. sentar, con masica en A no mas de vivo, la panorama setenta millas al "-N.% 111111.4 musical de la isla con norte en Austin, la ► la danza, el seis, la capital, la influen- bomba y la plena. cia mexicana sigue vibrante en esta ciudad Esta subida veloz del considerada la mas vari- Puerto Rican Folkloric Dance, ada en Texas. Pero la influ- que apenas se fund() en 1997en encia mexicana en este pais va Austin, es algo impresionante. Ya el a mas ally que Texas hasta llegar grupo puede contar con la aportacion del dominar todo que tenga que ver con lati- National Endowment for the Arts, nos en los Estados Unidos. Es Rut Gonzales, Sixmarie Rodriguez, 2000. el Texas Commission on the Arts, decir, la hispanidad que va arropando poco a poco a los el Austin Arts Commission y el Institute de Cultura Estados Unidos es propulsada por Mexico - y por Puertorriquena. En 2001 compartieron talleres y pre- Los medios noticiosos exhiben frecuentemente imagenes sentaciones con Modesto Cepeda y Cimiento cubanas y puertorriquecias en el mundo comercial, espe- Puertorriqueno. En 2002 hicieron lo mismo con Los cialmente en estos altimos arzos del "descubrimiento" de Pleneros de la 21 y este alio repitieron lo mismo con hispanos o el "Latinization" del pais. Pero la verdad es Guateque - Ballet Folclorico Nacional de Puerto Rico. otra cosa. Es la mfisica mexicana, rancheras, banda y A veces los talleres de estos folcloristas de Puerto Rico y norterw que domina las yentas de masica hispana. A la Nueva York, duraron una semana en un adiestramiento misma vez la proporcion de mexicanos entre los latinos intensivo al principio del an o. Despues, Puerto Rican en este pais, es aproximadamente 60 por ciento, y por Folkloric Dance seguia sus ensayos en preparacion para decadas. En Texas, mexicanos llegan a 75 por ciento de una presentaci6n culminante en julio de cada todos los latinos en el estado. Pues, cuando hablamos (cont. pag. 6) I an o. Cucintos grupos puertorriquen os de baile en este empezar su aprendizaje en varias regiones de la isla la pais han llegado a este punto de tener los recursos nece- ayudaron tremendamente en lograr el establecimiento de sarios para atraer estos folcloristas por tantas semanas este grupo de baile en Austin. Por varios anos, y hasta de estadia? Y cuantos grupos de bomba y plena podrian hoy dia, Puerto Rico ha sido su lugar para hacer investi- hacer lo mismo? gaciones sobre los bailes y la masica folclorica de la isla. Asi llego a recibir clases con lideres como Modesto Ana Maria Maynard Cepeda en su Escuela de bomba y plena Rafael Cepeda, Puerto Rican Folkloric Dance es la culmination con Joaquin Nieves de una labor her- Calder() y Guateque — mosa por su directo- Ballet FolcMrico de ra y fundadora, Ana Puerto Rico, con J Maria Maynard, Emanuel Dufrasne y criada en Caguas y Nelie Lebrun Robles de en el Bronx. Su Paracumbe y con Eric madre es Maria Gonzalez y Raid de la Mercedes Velez y su Paz de Gibaro de Puerto padrastro es Joseph Rico. Ana Maria es Capestany. Masica directora y coreografa en vivo siempre de Puerto Rican acompanaba las Folkloric Dance y tam- fiestas y eventos bien es bailarina y musi- especiales en la Performing Company, 2003 ca en el grupo (tocando familia de Ana Maria. piano, cuatro, guitarra, pandero, barrile de bomba y can- En esas ocasiones siempre llegaban congas, bongos, tando coro). Ademcis ensena clases de baile y mtisica, y guiros, maracas y guitarras para extender el festejo. de cultura puertorriqueria, para adultos. Desde su nth' ez Ana Maria estudiaba el piano, y even- tualmente empez6 a experimentar con la guitarra. Su "Es bien luchador para todo que tenga que ver maestro en el cuatro fue William Rodriguez. En Nueva con la cultura de la isla," dice Maria Rodriguez, una de York y en Austin, llego a estudiar baile de distintas for- las cantantes del grupo. El compromiso de Ana Maria es mas incluyendo bal- tan profundo que let con Arletta Rodriguez opina que Howard-Logan y el muchos de los jovenes en bailes folcloricos el grupo saben mas de la mexicanos con Chuy cultura y la historia de Chacon, Raymundo Puerto Rico que muchos Guzman y Jaime jovenes en la isla. "Ana Guerro en Maria empieza cada clase Monterrey, Mexico. de baile con una clase de En Texas formo historia. De ese modo, parte del Ballet antes de tira un paso, los Folclorico de Texas bailadores saben de donde de Rudy Lozano y viene el baile y como se del Austin Dance desarrollo. De esa man- Ensemble. era los puertorriquenos en PRF Dance, Modesto Cepeda & Ci miento Puertorriqueno, 2001 los talleres llegan a ser En 1997 fund6 puertorriquen os," concluye Maria. Puerto Rican Folkloric Dance. Todo empezo cuando su primer hijo tuvo seis meses y Ana Maria se encontro en Ana Maria tiene un doctorado y una maestria en un festival en Austin con bailes folcloricos y se dio cuen- ingenieria eMctrica y computerizada de la Universidad ta que Puerto Rico brillaba por su ausencia, y la real- Carnegie Mellon en Pittsburgh, y un bachillerato del izacion de que su hijo no iba a vivir su niii ez como ella lo Polytechnic Institute en Brooklyn. Presentemente, es disfruto, le call6 encima. Sus viajes a Puerto Rico parap - Directora de Programacion del IBM Austin Centro de "Celebrando 2003 with Guateque Ballet Foklorico de Estudios Avanzados. Su esposo, David Maynard, tam- Puerto Rico" el presupuesto llego a $84,000 &Mares — bien es un administrador de sistemas computerizados y le una suma mucho mans del presupuesto de varios grupos presta servicios tecnicos al Puerto Rican Folkloric folcloricos dentro y afuera de Puerto Rico. Dance. El matrimonio tiene dos hijos, William Pascual de 7 anos y Maria Mercedes de 3 anos. El alio pasado, en julio del 2002, Ana Maria Maynard anuncio una campaha especial de cinco anos de duration para recaudar fondos. Su meta era estable- Puerto Rican Folkloric Dance: cer una escuelita para tener un lugar fijo paraPuerto Un tesoro en Texas Rican Folkloric Dance y asi establecer una permanencia Un "tesoro" que merece apoyo fue la conclusion para sus ensayos y una escuelita de baile y masica fol- de Juan Gutierrez, director de Los Pleneros de la 21. clorica de Puerto Rico en Austin donde participantes de "Embajadores culturales" fue la description que le cualquier nacionalidad podrian aprender algo de Puerto otorgo el peri6dico Austin American Statesman. Y el Rico. Este alio en febrero 2003 celebraron la apertura hecho que Puerto Rican Folkloric Dance llego a progre- del Puerto Rican Folkloric Dance & Cultural Center sar tanto en tan poco tiempo fue una observation com- icuatro anos adelantados! partido por muchos incluyendo a un panelista de la Comision de Arte de la ciudad de Austin. En poco mas El nuevo Puerto Rican Folkloric Dance & de cinco anos, Ana Maria Maynard ha logrado bastante. Cultural Center es parte de un centro artistic° donde los Su capacidad como lider, su conocimiento de organizar salones son dedicados a estudiantes serios de baile de tareas complejas y su pasi6n boricua llegaron a un lugar varias formas. El salon de Puerto Rican Folkloric de convergencia donde lo mejor de Puerto Rican Dance es una cuadra de una pista de baile con espejos Folkloric Dance pudo ser realizado y reconocido. Por alrededor. Las paredes anuncian las actividades del cen- ejemplo, el website de Puerto Rican Folkloric Dance tro — horarios para sus talleres, instrucciones para los (www.prjdance.org) recibe mas de 1,400 vistazos (hits) al bailarines, etc. — igual que promueven los articulos de mes. Las primeras colaboraciones entre Puerto Rican yenta como camisetas y bolsos repletos con la insignia Folkloric Dance y esta publication, Gairo y Maraca, se del grupo. Para el 2003-2004 ofrecen talleres en baile relacionaban a la basqueda de information en cuanto a tradicionales (nil) os, adolescentes y adultos), salsa, masi- bailes, tambores, grupos, vestuarios, videos, etc., de los ca y percusion, coro para nilios y adolescentes, y clases tantos boricuas por todo los Estados Unidos que llegaron en estudios puertorriquenos. Otra pared se encuentra a visitar su website. En poco tiempo, y obviamente por adornada con carteles de promotion para la celebration medio de mucho trabajo, Ana Maria Maynard utilizo el anual. Aqui encontramos la promotion en un estilo sen- Internet para establecer una red de contactos para su cillo, de la colaboracion entre Puerto Rican Folkloric nuevo grupo foklorico. Esta red incorporo personas Dance y el West African Drum & Dance Ensemble of claves e instituciones de Puerto Rico que ella pudo culti- Austin en 2000, con Modesto Cepeda y Cimiento var en sus viajes a la isla. Todo esto garantizo que Puertorriqueno en 2001, con el coro de la Escuela Libre muchos iban a conocer el nombre, el sello, es decir, de de Mfisica y despues con Los Pleneros de la 21 en 2002, Puerto Rican Folkloric Dance. y con Guateque en 2003. Estas paredes simultaneamente anuncia el logro de un suefio de una mujer, Ana Maria Otro sepal del ascenso rapid° de este grupo de Maynard, que empez6 en 1997, llego a tener solo tres baile fue la celebration anual en julio de cada ano aus- bailadores en enero de 1998, y llego a dirigir un ballet piciado por ellos que combina fokloristas puertor- fokMrico completo en 2003. "Es un pedacito de Puerto riquelios con este grupo recien nacido en Austin. Con Rico aqui en Austin. Y esta es una comunidad que se pre- estos artistas de la isla y Nueva York, PRF Dance logra ocupa de todos," observa Ana Maria. tener masica en vivo para la gran mayoria de sus bailes en su presentation anual. En Austin ya tienen la capaci- Este sentido comunitario es parte del grupo tam- dad para montar presentaciones en bomba y en plena bien, compuesto por dote bailadores y ocho masicos, pero estan buscando un cuatrista para rellenar sus pre- mas Ana Maria. La mayoria, casi tres cuartas, es puer- sentaciones de musica jibara. Con todo que han logrado torriquefia. Todos los masicos son puertorriquefios pero hasta el momento, etamos seguro que este reto tambien los bailadores incluyen afro-americanos, venezolanos, sera cumplido. En esta altima presentation en 2003 jamaiquinos, y personas de raza mixta. El joven, Tony 7 I (cont. pag. 8) I Merriwether, de quince ailos, es uno de estos bailadores. de inspiration. Hasta nos llenaba de lagrimas esperan- Hace mas de cinco anos llego a vivir en Austin y por mas do nuestro turno para empezar a bailar" de dos arios ha participado con Puerto Rican Folkloric Dance. Aprendio sus primeros piquetes de bomba por Gladys Cruz, 29, nada y se trio en el barrio puer- medio de los talleres que ofrecieron Los Pleneros de la torriqueno de Chicago de padres boricuas y mexicanos. 21, Roberto Cepeda en particular. El baile de bomba es Esta bailando con el grupo por tres allos ahora y admite el favorito de Tony: "Es el baile que permita expresion, que el baile siempre era parte de su ninez. Su madre, y siempre quiero expresarme en los bailes." El baile de Natividad Perez, fund() "Las Semillitas" un grupo de bomba fue el primer baile que Tony aprendio donde se baile de ninas en Chicago. Gladys llego a conocer el baila acompahado por los ritmos de tambores en vivo. baile de bomba en Texas. "Mis bailes favoritos son la "Para la comunidad afro-americana en Austin, los bailes bomba yuba y despues los bailes de guinea, mazurka y de Puerto Rico tienen un significado especial. Ellos polka de la tradition jibara." Pero lo mas importante reaccionan con sorpresa, y con orgullo, al ver las con- para Gladys es sus compaPieros en Puerto Rican tribuciones que Africa le ha hecho a la cultura puertor- Folkloric Dance. "Ellos son los que me dan el deseo de riquerza. Y les encantan que nosotros, los puertor- quedarme y de regresar porque lo que tenemos aqui es riquenos, somos orgullosos en mostrarlo," seri ala Ana una familia. Y cada uno tiene algo para aportar" Maria. Y para Maria Rodriguez, unas de las cantantes China del grupo y ori- Smith, 2 7, es unda de bailadora prin- Santurce, este cipal del grupo concepto de y maestra en familia es una clases de baile realidad. Su para niPios y esposo, Roberto adolescentes. Rodriguez es Antes de inte- percusionista del grarse al grupo grupo y su hijo Puerto Rican Roberto toca el Folkloric primo en la Dance, esta bomba y da j oven con raices clases de bomba en Haiti y tambien. Pero su Jamaica, nunca hija, Sixmarie recibio enseriaza Ricardo Palacios, China Smith, 2000. Rodriguez, formal en baile. bailadora, fue la "Ahora este grupo es parte de mi vida y cualquier per- primera en llegar al grupo y ahora ha regresado al grupo sona que me conoce sabe muy Bien que tienen que accep- despues de vivier en el extranjero. Y eso no es todo: tar el grupo igual que a mi porque estamos juntos . . . El Sammy Lopez, percusionista es sobrino de ella y Felix grupo me llena de inspiration y hoy dia tengo clases en Lopez es cunado de su esposo. Maria cuenta a Danny la danza de jazz, danza moderna y el ballet," nos dice Rivera y a Andres Jimenez como influencias y por albs China. Los bailes latinos, especialmente la salsa y el esta cantando y tocando guitarra hasta llegar ser parte merengue siempre eran parte de la familia de esta talen- de la Tuna de Bayamon antes de llegar a Texas. "No tosa mujer quien se trio en Austin. Aprecia todos los somos grupo, somos familia y todos tenemos el mismo fin bailes de la cultura puertorriquen a y uno de sus favoritos de ensenar a la ciudad de Austin que es Puerto Rico. es el baile de bomba por su libre expresion. Recibio Todos que estamos aqui, estamos porque queremos, no talleres de baila por medio de los Cepedas, Brenda por ganancias" Cepeda, hija de Modesto Cepeda en particular y con Nellie Tanco de Los Pleneros de la 21. Sobre Nellie "Mucho amor y respeto es lo que tenemos aqui," Tanco nos dice: "Ella tenia una tranquilidad y un concluye Ana Maria. dominio total en la tarima, y cuando cantaba nos llenaba

8 1 (cont. from p. 4) Puerto Rican cuatro, pandero and singing. Intercontinental in San Juan plus the upcoming release of Counts of eight filled the stage, not one raised voice or its second CD. frustrated plea would reveal that the show was only an hour away. The placement of dance props was discussed For bomba and plena enthusiasts a performance — machetes in one corner, ribbon adorned palitos [sticks] by a ballet folclorico like Guateque, and others in Puerto in another and small calderos [pots] in yet another corner. Rico like Areyto, places musical and dance expressions The musicians were ready and patiently playing their in context, both in time and space. Costume changes, numbers repeatedly. Family members of a small number instruments, dancers and singers are synchronized to the of performers clapped after each song during this maximum. Plenas and bombas are thus reduced to equal absolute final rehearsal. Ana Maria had her stage persona time in live performances, which, especially for bomba, on display — a smile from ear to ear while Joaquin exud- places a premium on intense drumming and dancing for ed a quiet confidence. The stage was set for show time. short time spans

The pairing of Puerto Rican Folkloric Dance This is the model that PRF Dance aspires to, and and Guateque — Ballet Folclorico de Puerto Rico from it is a model that works well for all audiences: those new Corozal, Puerto Rico in 2003 was easily the culmination to Puerto Rican culture, and those looking for nostalgia. of this dance group's dreams on many levels. Ana Maria It is a balanced presentation of regional genres and his- Maynard counts the director of Guateque, Joaquin toric pieces from Puerto Rico (the staple of every Nieves Caldero, as one of her mentors and has sought his Guateque show) that is the framework for the work of guidance during her trips to the island for years. His Puerto Rican Folkloric Dance. The July 2003 show influence is joyfully evident in the work of PRF Dance. was no exception to that rule. The danza of Puerto Rico's 19th century salons by PRF Dance gave way to the musi- Guateque is a 30 member performing company cal suite of jibaro music that highlighted Guateque of dancers and musicians from the mountains of Puerto alone, and then in skillful combination with PRF Dance. Rico that has excelled in everything it presents. It is This segment featured seises, vals and even polka. The internationally acclaimed and lists festivals and competi- audience was offered the visual treat of imagining what tions in Central and South America, Europe and the the 19th century danza was like in the Caribbean and sat United States among its credits. It is particularly com- in curious, respectful silence. Soon after it was brought pelling in its presentations of the music and dance of the to life for each of the jibaro mountain tunes led by Irving mountains of the island with a strong emphasis on Santiago of Guateque, on the cuatro — an instrument that research, authenticity and tradition. Led by Joaquin seems to come with an automatic hand-clapping machine Nieves Caldero, the presentation of Puerto Rico's jibaro operated on cue by the audience. music is grounded in his own upbringing in Corozal and supplemented by his unwavering attention to detail and It was at this point that the Merriwethers came to collection of oral histories. Guateque, however, does not life a few seats away from me. They were the picture of stop there. Founded in 1976, it has amassed over 90 tra- a proud family who came to support Tony Merriwether ditional dances that represent the full panoply of Puerto one of the youngest dancers of PRF Dance on the stage. Rican expressions from pre-colonial times to dances that His mother and his young siblings and other relatives exhibit the richness of the island's Spanish and African came to life on the beat of the cuatro strings as Tony heritage, and to some extent its Taino origins as well. approached center stage with his dance partner. Their This writer has had the fortune of witnessing the per- love and admiration was palpable, contagious. Tony formances of Guateque in a number of locales — the would tell me later that yes he heard them shout his name Condado of San Juan, the capitol of Pennslyvania and and yes the nerves would shoot up, but he had it under now, the capitol of Texas, and has seen footage of them in control waiting for his time, waiting for the bomba competition in Europe. In every instance the high caliber drums. of its bomba and plena presentations is evident. The drumming is skillful, the homage to veteran composers is And it was bomba that started the second set of respectful, and the bomba dancing by both males and performances with the sounds of Angel Luis Torruellas' females often elicits the loudest response from the audi- Yenyere and Rafael Cepeda's Buscando un arbol, ence. Guateque is also enjoying an excellent year with Andarin, Oi una voz, and Rule son da. Visually the its continued performances every Sunday at the Hotel black piping of the bomba dresses was beauti- Iffafk! ful along the customary all white outfits of the male in the Lone Star State. dancers. Robert Rodriguez, Jr., a young drummer of the Austin ensemble, held his own on primo to compensate Ana Maria Maynard for the buleadores that lacked sufficient force and domi- Ana Maria Maynard was raised in Classon Point nance. None of this in the Bronx and in Caguas, would matter as much to part of the same circular the crowd who came to migration that characterizes see the dancers. First so many Puerto Rican house- came Ana Maria holds.. Her mother is Maria Maynard with confident Mercedes Velez from Caguas, steps, turns and gestures and her stepfather is Joseph garnering applause from Capestany from Mayaguez. the crowd. Then came Live Puerto Rican music was her dance partner Berto always a presence in her life Ramos who quickly re- as family gatherings would energized the crowd. The always attract congas, bon- dancers continued their gos, guiros, maracas and gui- individualized steps: tars to extend the parties Gladys Cruz rolled her through the night. Ana Maria shoulders coquettishly to Ana Maria Maynard, Roberto Rodriguez, Jr., Roberto studied piano since childhood Cepeda, Nellie Tanco, Tito Cepeda, Sammy LOpez, 2002. much applause and China and eventually gravitated to Smith brought the bombas to their peak with ferocity and the guitar and cuatro and learned the cuatro initially precision. The women here were ahead of the men. through William Rodriguez in Austin and subsequently Bomba is the Puerto Rican dance that Tony Merriwether with Hector Rivera in Manati. In New York and eventu- likes the best. "It is the one where I can express myself. ally in Austin, she studied a variety of dance forms And I'm always expressing myself in dance," says Tony. including ballet under Arletta Howard-Logan and His approach to the drum was cautious, but the energy of Mexican folkloric dance under Chuy Chacon, Raymundo the drums, the shouting of his name from the Merriwether Guzman and Jaime Guerro in Monterrey, Mexico. She section, and the audience's anticipation filled Tony with performed with Ray Lozano's Ballet Folklorico de Texas confidence. And he executed. in the nineties and with the Austin Dance Ensemble. She was a co-choreographer and dancer in the 1998 Bomba then gave way to plena as the dancers of Cenzontle music video "La Bruja." Guateque reunited with the host company for a number of plenas by Rafael Cepeda, Manuel "Canario" Jimenez, In 1997 Ana Maria founded Puerto Rican Angel Luis Torruellas, German Hernandez and Ramito. Folkloric Dance. It all started ater the birth of her first In Bombon de Elena a playful China Smith danced insis- child. She was at a festival displaying souvenirs and tently around the pairs, occasionally receiving an over- music from Puerto Rico. But the festival highlighted sized candy treat literally half her size only to store it folkloric groups from many countries with their dances away and return for more. For other plenas (a plena med- and their costumes. Puerto Rico was notable in its ley of Canario and Hernandez compositions, plus absence. "It was right then that I looked at my newborn Cuando Las Mujeres and Camelia) the audience con- and realized I had nothing to give him; that he would tinued in its approval, joining in with clapping and never be able to enjoy the childhood that I had without singing. Sammy Lopez handled the requinto drum very Puerto Rican music and dance. And mine was a wonder- well and the singing of Maria Rodriguez and Rose ful childhood," notes Ana Maria. She remembered the Rodriguez was excellent. Their earlier, hair-tingling ver- many times here mother would repeat to her "Anyone ask sion of Verde Luz (by Antonio Caban Valle), considered you, you tell them you're Puerto Rican." It was some- the national song of Puerto Rico, was exquisite and one thing she did not appreciate until she left the Bronx to of the highlights of the evening. The show ended with study in Pittsburgh -- in effect the first time she felt she Que Bonita Bandera done in plena, which led the audi- was outside of Puerto Rico -- and it was the same feel- ence to another celebration of Puerto Rico — this one ing she felt when she decided to form a Puero Rican folk- adorned with the single star of Puerto Rico's flag waving loric group. (cont. bottom, p. 11)1 10 Reviews / Resellas

Piña Colada JUANMA LEBRON / ANIBAL DE GRACIA con PLENA DULZURA De Gracia y Plena Dulzura 787.798.3048

TV personality and comedian Juan Manuel Lebrun has been a fixture on Puerto Rican television for some time now making audiences laugh for years. This recording pairs his talents with a group led by Anibal de Gracia on trombone, called PLENA DULZURA with arrangements by Carmelo Marrero. Giovanni Lugo also adds lead voice on a couple of tunes as well. Juanma's numbers are typical light fare making fun at a number of situations, such as the plena El Gajillete which pokes fun at drinking and the plena El Colillon that makes fun at fashion. Both of these plenas insert merengue in their mambo sections which in effect make them plena-merengues. Another song by Juanma is Lo quieren to' dao focuses on people who conveniently free-load, starts in plena and then stays in meringue, in effect a meringue plena. Lugo's plenas include LY los chavos donde estan? and the swinging El ron es mi medicina, an ode to the rum of the island ("Que se acabe el arroz, la leche y la gasolina. Pero que el ron no se acabe, porque eso es mi medicina.), the best song on the CD. The last plena (Como no creer en Dios), sung by Henry Santiago, is a beautiful tribute to all things we receive from God. With no liner notes to speak of we unfortunately cannot list any of the remaining musicians on this recording project. But if you want plena light and comedic, with some fusion and some swing, get your hands on this

recording.

((cont. from p. 11) I Working with youth is a blessing for her. She has Educational excursions to the island of Puerto been able to take young men and women and make the Rico form a major part of the foundation of PRF Dance. most of them. "I love developing young people. I can see Throughout the years she conducted research and attend- it in their eyes sometimes. And I just want to help them ed workshops with Modesto Cepeda and his Escuela de be all they were meant to be," she says. As she surveys Bomba y Plena Rafael Cepeda, Joaquin Nieves Caldero next year's work she counts some of her youngest dancers and Guateque Ballet Folclorico de Puerto Rico, J. as some of her projects -- they need attention and she's Emanuel Dufrasne and Nelie Lebrun Robles of prepared to provide it. Paracumbe, and Eric Gonzalez and Raul de la Paz of Gibaro de Puerto Rico. Currently, Ana Maria teaches Ana Maria holds a doctorate and a masters adult dance and music classes, including cultural educa- Electrical and Computer Engineering from Carnegie tion, in addition to her duties as director and choreogra- Mellon University in Pittsburgh and a B.S. from pher at PRF Dance. Polytechnic Institute in Brooklyn. She has written professional publications in computer system designs, appli- "Ana Maria is a fighter and this performance cations and computer processing, has received awards for company is a vital part of her life," says Maria Rodriguez. computer research and authorship, and is currently And Maynard's work goes well beyond the technical ele- Program Director of the IBM Austin Center for Advanced ments of dance and music. "In many ways because of Studies. Ana Maria's commitment the young men and women who are part of this work know more about Puerto Rican She is the mother of two children William culture and history than many of their peers in the island. Pascual, 7, and Maria Mercedes, 3. Her husband, David That's because Ana Maria starts out by going over the his- Maynard, whose own family tree in the U.S. predates tory of each of the dances before the students learn the 1776, is a major supporter and also a systems adminis- moves. So, for the Puerto Ricans in the group, through trator who provides technical and Internet services to dance they become Puerto Rican," concludes Rodriguez. PRF Dance.

11 GRUPOS DE BOMBA y PLENA Paracumbe, San Juan, PR, Emanuel Dufrasne, 787.769.2464, z,Tienes un grupo de Bomba y Plena? Dejanos saber para incluirlos www.paracumbe.com en esta section. Plena Dulce, Newark, NJ, Lillian Garcia, 973.645.2690 El imico criterio es que cada grupo tiene la capacidad y la disponi- Plena Dulzura, Bayamon, PR, Anibal de Gracia, 787.306.2616, bilidad de hacer presentaciones musicales de bomba y / o plena, en www.plenadulzura.com vivo. Ya saben que estamos disponibles a afladir grupos tan pronto Plena Libre, San Juan, PR, Gary Nuilez, c/o Valerie Cox, ustedes nos llaman. Aqui estan, en orden alfabetico. If you know of 787.763.4729, www.plenalibre.com a Bomba and Plena group let us know. We'll include them in our Plenaluna, Bronx, NY, Julio ColOn, 718.328.9231 next issue. Plenason, Manati, PR, Benjamin Jimenez, 787.960.2884, Orlando Marrero, 787.225.1278, [email protected] AfriCaribe, Tito Rodriquez, Chicago, IL, 773.879.2123, Plenealo, Aibonito, PR, Ivan Rivera, 787.735.3322 www.africaribe.net Los Pleneros de la 21, NYC, Juan Gutierrez, 212.427.5221, Amigos de la Plena, NYC, Jose Rivera, 646.824.3891 (cell) www.losplenerosde1a21.org Areito Borincano, San Diego, CA, Edwin Monclova, Los Pleneros de la 24, San Francisco, CA, Hector Lugo, 619.253.0480, www.areitoborincano.com 510.594.4335 Hugo Asencio y Tiz6n, Union City, NJ, Hugo Asencio, Los Pleneros del Batey, Philadelphia, PA, Joaquin Rivera, 201.863.8520 215.456.3014, ext. 42 Ballet FolclOrico de Bomba y Plena Lanze, Orlando, FL, Miguel Los Pleneros del Barrio, Ponce, PR, Roberto Texeira, LanzO, 407.855.0732 787.843.3673 Ballet Folkloric° Boriken, San Antonio, TX, Olga Custodio, Los Pleneros del Coco, Worcester, MA, Miguel Almestica, 210.878.7821, [email protected] 508.792.5417 Ballet FolklOrico de Celia Ayala, Boston, MA, Celia Ayala, Los Pleneros del Quinto Sono, NYC, Enrique Diaz, 212.260.5879 617.541.3540 Los Pleneros de la Salud, Springfield, MA, Luis Melendez, Ballet Folkloric° Hermanos Ayala, Loiza, PR, Marcos Ayala, 413.584.8125 787.758.2222 Los Pleneros del Severo, Carolina, PR, Carlos Pizarro Falu, Bain bule Ballet FolklOrico, Ponce, PR, Isabel Albizu Davila, 787.809.3604, [email protected] 787.844.8579 Proyecto La Plena, Minneapolis, MN, Ricardo GOmez, Los Bomberos de Brooklyn, Brooklyn, NY, Awilda Sterling & Hal 612.728.0567 Barton, 718.488.1163 Plenyson, Orlando, FL, Jose "Tito" Diaz, 407.812.9942, Bomplenea, San Juan, PR, Gary Vera, 787.792.3552 [email protected] Borinbomba, Milwaukee, WI, Luis Diaz, 414.744.6828, Puerto Rican Folkloric Dance, Austin, TX, Ana Maria Maynard, www.diazmusic.com 512.251.8122, www.prfdance.org Born bazo de New York, Bronx, NY, Jose Emmanuelli, Raices Boricuas, Paterson, NJ, Ada Diaz, 973.279.2390 718.588.8426 Los Relampagos de la Plena, San Juan, PR, Gerardo Ferrao, BorinPlena, Miami, FL, Pablo Rivera, 305.635.1174 787.767.1454 Modesto Cepeda y Cimiento Puertorriquefio, Santurce, PR, Sangre Caribefia, Springfield, VA, Grace Rodriguez, Modesto Cepeda, 787.728.1096 703.569.5980, www.miorgullo.tk Folkloric° Bohio (F.L.E.C.H.A.S.), New Haven, CT, Menen Segunda Quimbamba, Jersey City, NJ, Juan Cartagena, Osorio, 203.562.4488 201.420.6332, www.ricopositive.com Golpe de Plena, Santurce, PR, Harry Sebastian, 787.728.4283 Son de Plena, Trenton, NJ, Luis Ortiz, 609.584.1644 Grupo AfroBoricua, Brooklyn, NY, William Cepeda, Taller de Bomba y Plena, Ponce, PR, Pedro Barriera Colson, 718.421.2115 787.259.0293, [email protected] Grupo Cohitre D'El Yunque, San Juan, PR, Miguel Angel TamBoricua, Atlanta, GA, Benjamin Torres, 678.313.0104, Carrillo, 787.473.1409, [email protected] www.TamBoricua.com Grupo FolclOrico Paule, Oakland, CA, Maria Elena Garcia, Truco & Zaperoko, PR, Edwin Feliciano, 787.888.0398, 510.595.4697, info4aayareaboricuas.org www.zaperoko.com Grupo Viento de Bomba y Plena, Camden, NJ, Jose Catala Viento de Agua, NYC, Hector "Tito" Matos, 646.373.6533, vien- 856.963.4994, [email protected] [email protected] Grupo Yuba, Chicago, IL, Eli Samuel Rodriguez, c/o Centro Yerbabuena, NYC, Carlos Torres, c/o Marinieves Alba, Cultural Ruiz Belvis, 773.235.3988 212.876.4741 Guateque, Ballet Folklorico de Puerto Rico, Corozal, PR, Yoruba 2, Warwick, RI, Lydia Perez, 401.737.0751 Joaquin Nieves Calderon, 787.859.8601 Zon del Barrio, NYC, Aurora Flores, 212.410.2999 Guayacanes de San Anton, Ponce, PR, Carlos Velez Franceschi, 787.843.0082 Gtliro y Maraca is dedicated to the preservation of Bomba & Plena music from Puerto Rico. It is issued four times per year and is published Los Hermanos Cepeda, Carolina, PR, Jesus Cepeda, 787.757.1672 by the Segunda Quimbamba Folkloric Center, Inc., 279 Second Street, Los Instantaneos de la Plena del Rincon Criollo, Bronx, NY, Jersey City, NJ 07302, Tel. 201.420.6332. Email Juan Cartagena at: Norma Cruz, 300 East 151st Street, #3, Bronx, NY, 10451 [email protected] . Subscription is $15 per year. Milagro Bailadores, Portland, OR, Rebecca Martinez, Giiiro y Maraca se dedica a la preservation de la musica de Bomba y 503.236.7253, www.milagro.org Plena de Puerto Rico. Se publica cuatro veces al alio por el Centro Nuestro Tamb6, Chicago, IL, Ruben Gerena, 773.818.2266 Foklorico Segunda Quimbamba. La subscription es $15 por Orgullo Taino, Queens, NY, Gladys Rodriguez, 718.521.0051 Juan Cartagena, Editor, Writer Photos: Courtesy of Puerto Rican Folkloric Dance 12