Program Description This piece, broadcast as a TV special, was later recorded in the album orge will give audiences of all “Tierra, Tierra” (Arto Max Records TFS ages an opportunity for a unique J 620 –1980) by Haciendo Punto en Otro Jorge multimedia exploration of Puerto Rican Son, a renowned group of which Jorge and Afro-Caribbean culture. The theme Arce has been a member since 1978. It will be “respecting cultural diversity.” has been used as reference material in Jorge will bring music, dances, lore, schools in Puerto Rico as well as in stories and history handed down for public school systems in the United over two centuries. The workshop Arce States connected to the Puerto Rican includes slides, maps and over 25 per- community. Two more recording pro- cussion instruments from the Caribbean. jects in which Arce was involved were: Audience involvement is keystone “Del Caribe al Brazil” (Musicaribe LP to workshops given by Jorge with M001–1986), and “Moriviví” (Disco participants joining in on drums, rhythm Punto HPLP-001-1981). Both included instruments, stories and dances. Don Rafael’s compositions. In all of them, the participation of members of Background and Profile on the Cepeda family as guest musicians was very important. Jorge Arce Arce toured the United States from orge Santiago Arce was born in 1975 to 1982 as an actor and musician. JBélgica, a working class neigh- Since moving here in 1983, it has been borhood of Ponce, Puerto Rico. Ponce Arce’s responsibility to expand the is a city well known for its rich cultural Bomba and Plena through workshops, traditions and is characterized by the classes, residencies programs and per- emergence and evolution of important formances at school sites, festivals, par- Afro-Caribbean music and dances such ent and community organizations, and as the "Bomba," "Plena" and "Danza." universities, thus becoming one of the Half of Jorge's family comes from San most important cultural liaisons to the Afro- Antón, mainly a black community Puerto Rican community in this area. known for the African tradition of the After completing his educational pro- Bomba music; the other half comes gram at Boston Conservatory in 1985, Caribbean from the music tradition. His life in the where he majored in Musical Theater, "barrio" Bélgica was filled with the he decided to share his experiences with Plena music. This experience, among youth and children and to learn more other things, has contributed to his from the community of people who best Workshop creativity and curiosity. In addition to knew the traditions of his native culture. being an actor, dancer, singer, and per- former, he is also a cultural historian and researcher. Cirriculum Jorge Arce’s early exposure to the Bomba and Plena in Puerto Rico, helped him to establish a direct Guide relationship with the Cepeda Family in the early 1970’s. He was able to include them in television, record and theater productions. In 1979 he wrote, performed, directed, and choreographed Community Arts Advocates, Inc. the musical-theater piece “Melodía en P.O. Box 112, Jamaica Plain, MA 02130 El Caño,” in which the leader and choreographer of the Cepeda’s Family Telephone: 617-522-3407 ensemble, Petra Cepeda, played a Email: [email protected] leading role. Web: http://communityartsadvocates.org A C i l G id Af C ibb k h 1 Arce conceived Humano in 1987 as a result of an civilization displaying a language, writing, and sophis- invitation to perform at the Ruiz Belvis Cultural Center ticated learning in the sciences as well as a function- in Chicago. About the same time, he became the coordi- ing economy and a social and political structure. nator of a successful cultural program in an human ser- In the Caribbean region the main native group vice agency and gained valuable experience leading cul- was the Taino who derived from the Guarani and tural projects in schools and the community. He then Aruaco tribes in Brazil. They immigrated through rejoined the community as an artist and, by combining the islands close to Venezuela, and some of them set- the elements of tradition with community and cultural tled there. Others continued north to Boriken (the awareness, Humano was born. native name given to Puerto Rico), Santo Domingo Jorge Arce received his Master of Education Degree and Cuba. The natives living in the islands close to from Harvard University in 1994. Arce is listed in Venezuela were known as Indios Caribes. The Who's Who, 1984-85. He has received numerous awards, region in which they were established and which is including: the Cardinal Cushing Center Award for located south of the Major Antilles (formed by Outstanding Services to the Community 1987; the Puerto Rico, Santo Domingo, Haiti, Jamaica, and Alianza Hispana Recognition for Outstanding Cuba) has been designated as the Caribbean sea, Contributions to the Continuing Growth and Success of deriving from Caribe, a native word. the Hispanic Community 1991; the Mayor's Recognition It was not difficult for the African people brought to Outstanding Contributions to the City of Boston, 1991; to the Caribbean to integrate, and their presence trans- and the Massachusetts House of Representatives formed the natives' culture, especially in Puerto Rico Recognition for Outstanding Contribution to the Arts, where evidence was found of the integration. The 1991. His musical group Humano was awarded the descendants of Africans and slaves born in Spain, Boston Music Award for Outstanding Latin Act, 1990. known as Ladinos, fought together with the natives His cultural workshops and performances were pro- against the Spanish slavers in 1511. It was a con- grammed at more than 1000 schools, universities and frontation in which the native population was almost educational centers. As a result of his experiences, his exterminated. During the conquest period, a native article “Bomba and Plena / African Retention in Puerto woman named Yuisa, who was a chief or cacique of a Rico” was written. It has been edited by Dr. Beverly tribe, married a Ladino named Francisco Mejia in the Anderson, University of Connecticut, and was published area of Loiza, now a predominantly black town in by Calaloux Publications, N. Y. northern Puerto Rico. After African slavery was com- pletely established in 1518, the fugitives who escaped to the interior of the island mixed with the remaining BOMBA AND PLENA: natives and with numbers of other groups AFRICAN RETENTIONS IN PUERTO RICO Jorge Arce

hen slavery was established in the Americas Wduring the sixteenth century, the slave own- ers never suspected how much the practice would influence the cultural life this area. The many num- bers of tribes brought from the African coasts joined the already subjugated Native Americans and adopted portions of their culture. At the same time, they rein- terpreted and adopted a great portion of their masters' culture. In the Caribbean region the process of inte- gration in which the African element became predomi- nant was the wellspring of what is now called Afro- Caribbean culture. The Americas had been settled by peoples from Asian countries perhaps millennia before what is referred to as the European discovery. The three main cultural groups extant in the late fifteenth century were the Inca in Peru, and the Aztec and Mayans in Mexico, each of whom had long since developed an advanced

J A C i l G id Af C ibb W kh 2 Musically speaking, the Africans found the mara- The great variety of music and rhythms of the cas (a native instrument) very like the Yoruba chek- Afro-Caribbean region originated in the diverse tribes eres and other African instruments with a similar and cultural groups brought from Africa. In Cuba, sound. Another native instrument, the guiro, was from the Congo-Bantu, Yoruba and from other groups easily adopted by them. During the sixteenth centu- came the rumbas and the comparsas. Together with ry African people were brought first to the Caribbean the Spanish influence there emerged the son and the and then to the rest of the North American continent. habanera with its variations that include son mon- To avert rebellions, such as the 1511 rebellion, the tuno, danzon, son guaracha, son guajira, and so on. masters separated members of tribes so they could More modern variations are the songo and the salsa, not communicate in their own languages. There the latter inspired by the Cuban son and commercial- ensued a parallel dis- ized in New persion of linguistic, York during musical, dance forms the 1970s. and instruments. In Haiti we This explains why a find, among Puerto Rican can others, the learn the rock-derived Haitian dance and music meringue forms so easily, espe- (or compa) cially when we take and ritmo de into consideration palos, the that rock is mainly latter devel- African influenced. oped on the Marshall and Jean border Sterns (1966) wrote between in The Jazz Dance, Domingo "The music was a and Haiti. throwback, or rather a The dilution by white Santo musicians of the third Domingo or kind of music record- Dominican ed for the Negro mar- merengue is ket . . . Known origi- one of the nally as 'race' in the best known 1920s, then 'rhythm music forms and blues' in the in Latin 1930s and 1940s. . . . The twist was employed long America. In the Virgin Island (which include former ago in Africa and by the Negro folk in the South . . . Dutch, French, and English Islands, also known as the was used in 1913 routine of a dance called 'Ballin Minor Antilles or West Indies) the calypso, soca the Jack' . . . blues shouters of the twenties used it . . rhythms and others appeared. Jamaica, a former . and in the twenties was inserted during the break- English possession and also part of the Major Antilles away . . . of the Lindy." produced reggae music and dance. In Puerto Rico The Africans were forced to learn a new lan- African elements appear in such music forms as the guage, but they never excluded their own. They danza (derived from the European country dance and learned their masters' dance and music forms but the Cuban habanera) and country music. But bomba then introduced their own elements into it. More and plena, manifest the strongest African influence. importantly, they were made to profess a new reli- gion, but they then injected it with their own con- (From “Bomba and Plena” African Retention in cepts and musical elements blending in a few native Puerto Rico, by Jorge Arce, in Beverly Anderson elements. This process became the foundation of (ed) Music of the Caribbean, New York, McGraw- Afro-Caribbean culture. Hill, 1996 . Illustrations: Jorge Arce ©1997 )

J A C i l G id Af C ibb W kh 3 Suggested Activities Before the Perfomance Afro-Caribbean Vocabulary Words for Review 1. Locate Puerto Rico and Caribbean Islands on a Cocolo [ Ko'kolo ]- young people who are opposed world map or globe. to “hard rock.” People who dance mostly “salsa” 2. Discuss the Slave trade with students, pointing out or Afro-Caribbean rhythm, or sympathize more trade routes on a map. Show diagram of the inte- with “soul rock.“ rior of a slave ship. Congo [ 'köngö ] - person originally from Congo, Africa. 3. Acquaint students with information found in this Mandinga [ mæ'ndingæ ] - term used for black skin people. guide. Tambor [ tæm'bör ] - drum. Tumba [ 'tumbæ ] - drum. Tumbadora [tumbæ'dör] - Afro-Cuban drum. Suggested Activities After the Performance Conga [ 'köngæ ] - name used for Afro- Cuban dance and drum. 1. Ask class members to imagine themselves as Bomba ['bömbæ ] - name used for Afro-Puerto Africans taken from Africa to America and sold as Rican dance and drum. slaves. Have them write about their journey in a Rumba ['rumbæ] - type of Afro-Cuban music and dance. journal, a letter, a ballad or poem. Bongó [bön'gö] - type of instrument; two small 2. Students may prepare a bulletin board display of drums joined by a piece of wood. Afro-Caribbean and Latin-American art. Chongo['t∫öngö] or Chongolo [ 't∫öngölö] - nicknames. 3. Older students may research Afro-Caribbean and Coco ['kökö] -palm trees’ fruit. Palm trees that were Latin-American achievements in such fields as art, brought from Africa. music, science, politics, sports and literature. Bembón [ bEm'bön] - big lips person. 4. Ask students to recall games and songs they have Bemba ['bEmbæ] - big lips. Gandinga [gæn'dingæ] - pork or beef part. learned informally such as “on the playground” or ∫ “in the neighborhood”. Sancocho[sæn'köt ö] - stew in which meat and potatoes are combined. 5. You may wish to use the following discussion Mondongo [mön'döngö] - pork or beef stripe. questions: Ago gó [ægö'gö] - musical instrument dance. Gandul [gæn'dul] - green peas. • Do you recognize any of the songs or games Fufú [fu'fu] - witchcraft. used in the program? Which ones? Baquiné [bæki'nE] - funeral celebration to a dead baby. • Why do you think music was such an important Moteté [mo'tEtE] - bar or any bundle that you carry. part of the lives of people? Candungo [kan'dungö] - pail for water. • What do we learn about people from their Bachata ba't∫ætæ] - party, happening. songs? Guateque [gu'teke] - party. • How were songs and games preserved or Mofongo mö'föngö] - type of food. Made from a com- passed onto future generations? bination of plantain, garlic and a piece of pork fat. Titingó titin'gö] - quarrel, fight, battle. Milonga [mi'löngæ] - In Loiza, a town in the North Related Study Topics of the Island, the word was used to denominate a type of Bomba dance. Social Studies Settlement of various groups of people in the Key Words for Vowels Sounds Americas Symbols Key Spelling Spoken Form 1. Taino & Native American Indians æ sang [sæng] 2. European Immigrants E get [gEt] 3. Africans i bee [bi] 4. More recent immigration ... ö saw [söw] Geography u tooth [tuth] Students trace own individual ancestry Other Combinations Art 1. qu + i or e = [ki or ke] Students create masks, displays, flags, artifacts, 2. [ ‘ ] stress following syllable musical instruments and native dress of their Example: Baquiné = [baki’ne] ancestry. 3. t∫ for ch Example: Chongo= [ 't∫öngö] Theater Skits depicting life in country of origin as well References: • Alvarez Nazario, Manuel. El Elemento Afronegroide en as the presentation of music, games, and cos- el Español en Puerto Rico. ICP, 1974, Puerto Rico. tumes of each heritage. • Daily words and denominations collected by Jorge Arce. Community Projects • Kentyon and Knott: “A Pronouncing Dictionary of International dinner incorporating foods, music, dress, American English.” Springfield, MA.: Merriam dance and activities indigenous to each culture. Webter, 1953. J A C i l G id Af C ibb W kh 4 Bibliography

Alvarado, Felix Echevarria. (1984). La Plena. Puerto Rico: Alvarado.

Alvarez Nazario, Manuel. (1974). El Elemento Afronegroide en el Espanol en Puerto Rico. Puerto Rico: ICP.

Ayala Family. Renowned Bomba Music and Dance Ensemble located in Loiza, Puerto Rico.

Baralt, Guillermo. (1985). Esclavos Rebeldes. Puerto Rico: (ed.) Huracan.

Carpentier, Alejo. (1980). La Musica en Cuba. Mexico: EFE.

Cepeda Family. Renowned Bomba and Plena Dance Ensemble located in Villa Palmeras, Puerto Rico. (Don Rafael Cepeda is considered "El Patriarca" of our Bomba music.)

Franceschi Family. One of the many Bomba and Plena music families located in San Anton, Puerto Rico. (Luisa Franceschi happens to be Jorge Arce's aunt.)

Leon, Argelier. (1980). Interview with this renowned composer and musicologist in La Habana.

Orovio, Helio. (1981). Cuban Music Dictionary. Cuba: (ed.) Letras Cubana.

Ortiz, Fernando. (1974).La Musica Afro-Cubana. Madrid: Ediciones Jucar.

Pedraza, Ramon. Plena and Bomba music investigator, musician, composer, and craft artist located in Villa Palmeras, Puerto Rico.

Stearns, Marshall and Jean. (1966). Jazz Dance. New York: MacMillan.

Discography

Jorge Arce and Humano.:Caribe Humano, Boston, 1996 Haciendo Punto en Son-1975/1986: Punto Final. Dist. Alpha Records, PR.* Haciendo Punto en Son: Moriví. Disco-Punto. HPLP-00. 1982* Haciendo Punto en Son: Tierra, Tierra Artomax TFS 620. 1980 * * Jorge Arce was member and researcher for this performing project. They toured USA from 1978 through 1989.

Videography

Almodovar, Ramon. (1980). Film: "The History of Black People in Puerto Rico." For the Colegio Metropolitano of Puerto Rico, Copyright Ang G. Mendez Foundation. Special Program hosted by Jorge Arce

Photographs by Susan Wilson and Candido Ortiz.

J A C i l G id Af C ibb W kh 5 Jorge Arce Curriculum Guide Afro Caribbean Workshop 6 J A C i l G id Af C ibb W kh 7 J A C i l G id Af C ibb W kh 8