Spring 2015
1st Show 9:50 AM Show Program
Welcome Introduction Musicians Dancers Jarabe Tapatio La Bamba Musicians Dancers Cielito Lindo “Samba” Dancers Cumbia Musicians “Magalenha” Musicians Guantanamera Dancers “Tango” Dancers Bachata / Merengue Musicians Carlos Intro Salsa Caleña Cueca Chilena Dos puntas Dancers (La montaña de los Salsa Caleña andes) Dancers Salsa** “Boleadoras”*
* PLEASE BE ADVISED: 1 minute of this performance is inclusive of strobe lights. Those audience members who may be adversely affected will be given advance notice to temporarily excuse themselves.
** Public interaction “Celia Cruz Salsa Interactivity” At this time, our artists will invite children and students, with special tickets issued by their educator or chaperon, to join them on the stage to follow further instructions demonstrating movement elements and dance skills. 2/15 Mexico Jarabe Tapatío This dance originated during the Mexican Revolution (1910) and was used as the National anthem. It included diverse and famous regional dances in a mixture called “Jarabe.” Dance experts called this style “Jarabe” because of the sweet glances the couples share as they dance, or to the mixture of elements that it is composed of. In essence, the word Jarabe, derives from the Arabian “Xarab” which means mixture of herbs. And the word “Tapatio” means someone from Guadalajara in the state of Jalisco. It commenced when the famous Russian Ballerina “Ana Pavlova” was touring Mexico in 1919. She fell so in love with the culture and the sumptuous regional costumes, that she decided to include the dance in her permanent repertoire “El Jarabe Tapatio” while dressed as China Poblana. The Mexican cultural authorities concluded it was an honor having the “Jarabe Tapatio” as the most important dance of Mexico and that it needed to be danced with “puntas” dressed in the China Poblana costume. China Poblana was an Asian woman who lived in the city of Puebla, Mexico, as a servant in the seventeenth century. She influenced the dress style of that time. Singing with us Cielito Lindo
Ese lunar que tienes, Cielito Lindo, junto a la boca, No se lo des a nadie, Cielito Lindo, que a mi me toca, Ese lunar que tienes, Cielito Lindo, junto a la boca, No se lo des a nadie, Cielito Lindo, que a mi me toca.
Ay, ay, ay, ay, canta y no llores, Porque cantando se alegran, Cielito Lindo, los corazones. Ay, ay, ay, ay, canta y no llores, Porque cantando se alegran, Cielito Lindo, los corazones.
De la Sierra Morena vienen bajando, vienen bajando Un par de ojitos negros, Cielito Lindo, de contrabando De la Sierra Morena vienen bajando, vienen bajando Un par de ojitos negros, Cielito Lindo, de contrabando
Ay, ay, ay, ay, canta y no llores, Porque cantando se alegran, Cielito Lindo, los corazones. Ay, ay, ay, ay, canta y no llores, Porque cantando se alegran, Cielito Lindo, los corazones. Dance: The Cumbia Colombia The Cumbia dance has deep roots in Africa and it has influenced many costal dances of Latin America. The costume for “Cumbia” is a combination of simple elegance. The women wear skirts called “polleras” because of the quantity of material required to sew and construct the dress.
The dress may be white and of different colors. The traditional blouses have deep cleavages This dance is considered the Steps of and short sleeves because of the hot Seduction. In the beginning, Indians weather climates. Other blouses are made and blacks built a bonfire which they with high neck collars with three quart ruffle danced around. Later, the bonfire was sleeves. replaced with a decorated tree, which became the centerpiece for the dancers. The traditional blouse is closed in the back, around the waist, while appearing loose in Traditionally, the dance takes place at the front. The final touch is a bunch of night, women carry lit candles while men flowers that dresses her head. The men move around the dancing women. The wear white pants rolled half way up to their men make gestures with their hat, knees. Their white shirt is also rolled to their elbows, with a red handkerchief around their tipping it on and off their heads. They neck, a long hand-woven bag (mochila) and bend and rotate around the women and a machete's sheath to complete their finally kneel down in front one, as if costume. Men dance barefoot and carry begging, while they court the dancing their respective region's hat. This type of women with their gestures. wardrobe is used when performing as folkloric dancers and when recognized, Candles in the Cumbia, have significant brings the dancers much applause. meaning and at times are sacred, used at funerals.
The men bring the candles to the women with whom they wish to dance. The women feel honored by such a request. The significance of the candle is in accordance to its size. Larger candles meant a significant economic affluence. Legend states a young man burned paper currency, instead of candles, to show prestige and power. Singing with us
Guantanamera Spanish Literal Translation Yo soy un hombre sincero De donde crece la palma I am a sincere man Y antes de morirme quiero From where the palm tree grows Echar mis versos del alma And before dying I want Guantanamera, guajira, To share the verses of my soul. Guantanamera My verse is light green Mi verso es de un verde claro And it is flaming crimson Y de un carmín encendido My verse is a wounded deer Mi verso es de un ciervo herido Who seeks refuge on the mountain Que busca en el monte amparo (or in the woods). Guantanamera, guajira, Guantanamera This third verse was never part of Cultivo una rosa blanca the original song, Guantanamera, En julio como en enero but was Para el amigo sincero written in "Versos Sencillos" Que me da su mano franca Guantanamera, guajira I cultivate a white rose Guantanamera In July as in January Y para el cruel que me arranca For the sincere friend El corazon con que vivo Who gives me his honest hand. Cardo ni ortiga cultivo And for the cruel one Cultivo la rosa blanca who would tear out this heart with Guantanamera, guajira which I live Guantanamera I do not cultivate nettles nor thistles I cultivate a white ro Final verse of song, as published: With the poor people of the earth I want to share my fate Con los pobres de la tierra The brook of the mountains Quiero yo mi suerte echar Gives me more pleasure than the El arroyo de la sierra Sea Me complace más que el mar Guantanamera, guajira Guantanamera República Dominicana Dance: Merengue
Merengue is the national dance and music of the Dominican Republic.
Traditional merengue music is p l a y e d w i t h a n a c c o r d i o n , saxophone, tambora drum, box bass and güira (a sort of metal scraper).
It is rural music, with close affinities to Haitian merengue - sung in Creole and tends to have a slower, more nostalgic sound, based on guitar rather than an accordion.
In the Dominican Republic, merengue experienced something of a golden age during the dictatorship of Rafael Trujillo, who held power from the 1930s until his assassination in 1961.
Trujillo was from peasant roots and he promoted the music as a symbol of national expression and the culture of the former underclass.
He restricted merengue's traditional role as music of social commentary but he granted a forum for the musicians in the dance halls.
Larger merengue orchestras were assembled, with piano and brass, to cater to these new urban audiences. Cuba&Puerto Rico Dance: Salsa Salsa is a fusion of traditional African, Cuban and other Latin-American rhythms originating in the islands (Cuba and Puerto Rico) and transported to New York in the early 1970s, depending on where one puts the boundary between "real" salsa and its predecessors.
Contemporary salsa originates from Cuban song and dance steps, and has influences from many other Cuban dances such as Mambo, Chá, Guaracha, Changuí, Lukumí, Palo Monte, Rumba, Yambú, Abakuá, Comparsa and some times Mozambique even. It also integrates swing dances. There are no strict rules of how salsa should be danced, although one can distinguish a number of styles, which are discussed below. Salsa is a partner dance form that corresponds to salsa music, however it is sometimes performed solo. The English term is the same as the Spanish
word “salsa” meaning “sauce”, or in this case “flavor or style”. According to t e s t i m o n i a l s f r o m musicologists, the name salsa gradually evolved among d a n c e r s t h r o u g h o u t t h e decades following the 1970s.
A composition titled “Échale salsita” by Ignacio Piñeiro was the very first time “salsa” was heard on the radio. This song was dedicated to old African men who sold butifarras (a sausage-like product) in Central Road in Matanzas. Where in the major refrain and
chorus goes "Salsaaaaa! Échale salsita, échale salsita." During the early 1950s, commentators and DJ's "bigote" Escalona announced danceables with the title: "the following rhythm contains Salsa.” Finally in the 1970s, the Spanish-speaking population of the New York area baptized Celia Cruz as the "Queen of Salsa." Salsa is danced to music with a recurring eight-beat pattern, i.e. two bars of four beats. Salsa patterns typically use three steps during each of the four beat patterns, one beat being skipped, however, this skipped beat is often marked by a tap, a kick, a flick, etc. Typically, the music involves complicated percussion rhythms, and is fast, with around 180 beats per minute (see salsa music for more). Salsa is a slot or spot dance, unlike Foxtrot or Samba, in Salsa couples do not travel over the dance floor too much, but instead occupy a fixed area on the dance floor. Singing with us
La Bamba
Para bailar la Bamba Para bailar la Bamba Se necesita una poca de gracia Una poca de gracia Para mi y para ti Ahi arriba ahi arriba Ahi arriba ahi arriba Por ti sere Por ti sere Yo no soy Marinero Yo no soy Marinero Soy Capitan…….. soy Capitan…………
Bamba Bamba Bamba Bamba Bamba Bamba Bamba
Para bailar la Bamba Para bailar la Bamba Se necesita una poca de gracia Una poca de gracia Para mi y para ti Ahi arriba ahi arriba Brasil Dance: Samba, Samba is a Brazilian dance and musical genre originating in Bahia, Brazil and Africa via the West African slave trade and their religious traditions, particularly Angola and the Congo. It is recognized around the world as a symbol of Brazil and the Brazilian Carnival. Considered one of the most popular Brazilian cultural expressions, samba has become an icon of the Brazilian national identity. The Samba de Roda (dance circle), which was named to UNESCO Intangible Cultural Heritage of Humanity List proclaimed in 2005, and inscribed in 2008. It is the main root of the samba carioca, the samba played and danced in Rio de Janeiro. The modern samba emerged at the beginning of the 20th century. It is basically 2/4 tempo with use of chorus sung to the sound of palms and batucada rhythm, adding one or more stanzas of declaratory verses. Traditionally, the samba is played by strings (cavaquinho and various types of guitar) and various percussion instruments, such as the tamborim. Influenced by American orchestras, in vogue since the Second World War and via the cultural impact of US music post-war, samba began to use trombones, trumpets, choros, flutes, and clarinets. In addition to rhythm and bar, samba brings a whole historical culture of food, varied dances (miudinho, coco, samba de roda, and pernada), parties, clothing, such as linen shirts, and the Naif painting of established names such as Nelson Sargento, Guilherme de Brito, and Heitor dos Prazeres. Anonymous community artists, including painters, sculptors, designers, and stylists, make the clothes, costumes, carnival floats, and cars, opening the doors of schools of samba. The Samba National Day is celebrated on December 2. The date was established at the initiative of Luis Monteiro da Costa, an Alderman of Salvador, in honor of Ary Barroso. He composed "Na Baixa do Sapateiro" even though he had never been in Bahia. Thus 2 December marked the first visit of Ary Barroso to Salvador. Initially, this day was celebrated only in Salvador, but eventually it turned into a national holiday. Samba is a style deeply rooted in Southeastern and Northeast Brazil, especially in Rio de Janeiro, Sao Paulo, Salvador and Belo Horizonte. Its importance as Brazil's national music transcends region, however; samba schools, samba musicians and carnival organizations centered around the performance of Samba exist in every region of the country and, while regional music prevails in other regions (for instance, in Southern Brazil,
Center-West Brazil, and all of the Brazilian countryside, Sertanejo, or Brazilian country music, is extremely important), there is no single musical genre that Brazilians use with more regularity than samba to identify themselves as part of the same national culture. Singing with us
Magalenha (Liryc - Músic: Sergio Mendez)
Vem Magalenha rojão, traz a lenha pro fogão, vem fazer armação. Hoje é um dia de sol, alegria de coió, é curtir o verão.
te te te te te te te te te te te te te te
te te te te te te te te te te te te te te te
O calangulango, do calango da pretinha, to cantando essa modinha pra senhora se lembrar, daquele tempo que vivia lá na roça com uma filha na barriga e outra filha pra criar. com uma filha na barriga e outra filha pra criar.
Vem magalenha rojão, traz a senha pro fogão.. te te te coração. Hoje é um dia de sol, alegria de xodó, meu dever de verão. te te te te te te te te te te te te te te te Argentina Dance: Tango
There is a cliché that Tango was born in the Dance Clubs of Buenos Aires. However, a more likely explanation is that the brothels were where people of the upper and middle classes first encountered it.
Members of Argentina's literary classes - the people who are most likely to leave written evidence - did not mix socially with members of the lower, immigrant classes except in dance clubs. Clubs were major places of entertainment for the working class. With a population of more men than women, the consequence was that there would be “queues” in the clubs as men waited for the women to become available to dance.
Today, in Buenos Aires or Rio de la Plata, there are several forms of Argentine Tango: Salon, Fantasia, and one for scenario (stage). With the internationalization of Tango, other forces have been influencing the Tango dance.
The form known for stage, sometimes is referred as "for export", was aimed at English speaking people. Outside Argentina, people in North America had their first exposure to Stage Tango, brought by the show and dance companies from Buenos Aires. At the end of the shows, the audience sometimes asked for classes on what they had witnessed on stage. They wanted to learn what they saw on stage.
Some of the dancers were available to teach, but some only knew show routines. Other times seasoned dancers from Buenos Aires were asked to teach. They found it very difficult to explain that the correct form was to learn Argentine Tango from Buenos Aires rather than what they had seen at the show, or on stage. In 2009, the tango was declared part of the world's "intangible cultural heritage" by UNESCO. 6/15
Argentina Gauchos Dance: Malambo, Boleadoras
Lassos of three balls called "Tres Marías" (Three Marias) or "Potreadora"(tamer). It consists of three weights made of stone, iron and/or other materials. One of these units is lighter and the other two of a similar weight, but never of the same weight so that, when being thrown , they would separate. These balls are covered with raw leather tied with twisted laces. The gaucho carries the boleadoras tied to his waist, or on the back of the soft leather pads under the saddle of his horse.
B o l e a d o r a s : G a u c h o s u s e boleadoras to capture running cattle or game. Depending on the exact design, the thrower grasps the boleadoras either at one of the weights, or in the nexus of the cords. He gives the balls momentum by swinging them and then releases the boleadoras. The weapon is usually used to entangle the animal's legs, however, if thrown with enough force they have been known to break the bones of the animal.
Malambo: Originated in the Pampas around the 1600. Malambo is a peculiar native dance that is executed by men only. Its music has no lyrics and it is based entirely on rhythm. The Malambo dancer is a master of tap dancing wearing gaucho boots.
This study guide is designed to facilitate learning in the classroom and compliment our performance. Education administration and teachers may use this to construct lesson plans to teach students who will attend the show. The study guide's information sources have been provided by: