Latino Cultural Guide

Fiesta DC’s Fiesta DC’s
2 About this guide Back Latino Cultural Guide Latino Cultural Guide Next About this guide 3
Front Cover (clockwise): General view of Gala Theatre at the Tivoli, in
About This Guide

Columbia Heights; a collection of Andean pan pipes; Orquesta Ashe;
dancers from Centro Cultural Bolivia.
Page 1: Dancer at the Caribbean Festival in D.C.
Photo Credits: Most of the photos

were provided by groups or
artists or downloaded from their
Web sites. Although these came
generally courtesy of the respective
artists, in some cases we were
T his publication is intended as an introduction and guide to the Hispanic perfor-
mance arts in the Washington, D.C. area, especially within the nation’s capital
itself. By “Hispanic” in this context we mean from countries in Latin America
able to identify the individual
photographer's name. Other and the Caribbean where Spanish and Portuguese are predominant, and also, in
photographs came from Fiesta the case of flamenco, from southern Spain. Africa and Native America, impor-
DC's archives and contributors: tant sources of our culture, are represented here through folk ensembles of special
Rafael Crisóstomo, Kenia Lobo,
Gilberto Meza, José Sánchez and
focus, but influences from three continents—America, Africa, and Europe—are
Dr. Oswald Cameron. noticeable throughout the spectrum of Latin American music.
The Guide is a reference for anyone looking for artists to perform at venues
as varied as home and office entertainment, dances and concerts, and folkloric
festivals; it also lists some schools and instructors, and describes our two his-
toric bilingual theaters, both known internationally.
The Guide includes a few groups and performers from the English-speak-
Next pages: Dancer of ing Caribbean, which shares a common spirit with other Caribbean nations
Maru Montero Dance whose languages may be Spanish, French, Creole, Garifuna, or Dutch.
.... PHONE
Company and a
.... E-MAIL The Guide lists the genres and styles, and, where applicable, national fo-
Bolivian girl participating
in an Arlington festival. .... WEB SITE cus, of the respective groups, as well as contact information and links to Web
sites for each group or performer.
Information concerning the groups comes principally from the groups
themselves. Fiesta DC does not evaluate or rank the different artists.
Executive Editor: Alfonso Aguilar Art Director: José Sánchez
Additional Research: Kenia Lobo
The groups and performers are organized in sections by general catego-
Editor: Luis Rumbaut
Research: Ligia X. Muñoz Photography: Oswaldo Camerón ries. However, a section on special genres, from flamenco to tango, lists those
Gretta A. Rivero Rafael Crisóstomo genres first in alphabetical order, while folk dance and music groups are or-
Kenia Lobo dered first by national origin. Groups and performers then appear, always in
Gilberto Meza alphabetical order.
José Sánchez
Distribution: Horacio Olivas
In addition, a general index of performers appears towards the end of the Guide.
4 About this guide Back Latino Cultural Guide Latino Cultural Guide Next About this guide 5
6 Letters Back Latino Cultural Guide Latino Cultural Guide Next Letters 7
GOVERNMENT OF THE DISTRICT OF COLUMBIA
From the Chairman

EXECUTIVE OFFICE OF THE MAYOR
Rodrigo B. Leiva OFFICE ON LATINO AFFAIRS
Board Chair & President Adrian M. Fenty Mercedes Lemp

Mayor Director
Fiesta DC, Inc.
F iesta DC's 2008 Cultural Guide is a compila- On behalf of the Mayor of the District of Columbia, I would like to congratulate the
tion of the rich cultural contributions of our staff and board of directors of Fiesta DC for compiling the first ever Latino Cultural
Latino artists in the Washington, D.C. metropoli-
tan region, including additional groups from the Guide for Washington, DC.
English-speaking Caribbean and from Spain. In so doing, the Guide becomes
a cornerstone in support of Fiesta DC's mission, "To contribute to the preserva-
tion, diffusion and promotion of Latino culture in the Washington metropolitan The Office on Latino Affairs (OLA) has long partnered with and supported Fiesta
area, as well as to enhance, promote and assist the artistic cultural expressions DC’s mission to contribute to the preservation, diffusion, and promotion of Latino
of the Latino community residing in Washington, D.C."
culture in Washington, DC. Fiesta DC’s commitment to this mission has never been
The Guide also serves to connect potential clients with the featured artists. It
will come to play an important role in our local history as a snapshot in time that more evident than through what we witness today in this complete, first of its kind,
documents the multi-cultural tapestry of our family of artists, whose dedication guide highlighting the artistic contributions of over 150 groups and individual
and talent have enriched our lives.
I extend my sincerest gratitude to the Mayor of Washington, Adrian Fenty, performers located throughout our city and metropolitan area. Never before have
who has been an unwavering supporter of Fiesta DC's numerous year-round these performers been presented in such a comprehensive and accessible manner.
programs. I would also like to convey special thanks and recognition to our
key partners, Mercedes Lemp, Director of the Mayor's Office of Latino Affairs, It’s our hope that this guide will help residents and visitors alike enhance and enrich
George Escobar, Deputy Director, Ward 1 D.C. Council Member Jim Graham, their understanding of the rich cultural heritage brought to our city by the vibrant,
and D.C. Council Member at Large Kwame Brown. Without their support this
guide would not have become a reality. diverse and ever growing Latino community residing here in Washington, DC.
I want to thank Alfonso Aguilar, the Executive Director of Fiesta DC, who
spearheaded this important project, and his staff and the consultants and con-
Please enjoy this wonderful guide!
tractors of Fiesta DC. To our Board of Directors: thank you for providing the
vision and leadership to ensure that Fiesta DC fulfills its mission (Roland Roe-
buck, Vice Chair; Leda Hernández, Treasurer; Elizabeth Schrader, Secretary; Saludos!
and Directors Ted Loza, Nitza Seguí, Pedro Avilés, and Ingrid Gutiérrez.)
To our public: we hope that you enjoy the Cultural Guide as a true reflection
of the deep cultural roots of our proud community and as a bridge of cross-
cultural understanding. Our goal is that you, our readers, will use this guide as a
means to support and promote our local artists!
Mercedes Lemp
Director
2000 14th Street, NW, 2nd Floor, Washington, DC, 20009 - Telephone (202) 671-2825 - Fax (202) 673-4557
O L A .D C .G O
V
It is my pleasure to welcome this first edition of Fiesta DC’s

Latino Cultural Guide, the latest project of an organization
with which we work every year to make possible the Latino
Festival of the District of Columbia.
I hope that this introduction to Latin American and

Caribbean music and culture will add to the mutual
understanding and appreciation of the people of our very
diverse Ward 1, the multiracial and multicultural ward at
the center of the District of Columbia.
Congratulations to the Board of Directors and staff

of Fiesta DC, and to all of those who contributed to the
making of this outstanding publication.
Jim Graham
Councilmember
Ward 1
August 7, 2008
Dear Fiesta DC:
Congratulations on publishing the first edition of the Latino Cultural Guide. LEDC is Dear Friends:
very proud to support this effort. As the D.C. area’s premier economic development
corporation working to improve the capacity of the Latino community to build wealth, we
are thrilled at how this guide showcases the many artistic talents of our community. When we think about the Latino community, the first thing that comes to mind is its
culture and traditions. The Washington, DC metropolitan region is fortunate to
experience the international confluence that makes it one of the most dynamic regions of
The Latino Cultural Guide is an excellent tool to introduce the broader community to the country.
hundreds of talented Latino artists, actors, and musicians. We hope that it will help them
market to the non-Latino community and strengthen the ties that bind all of us as This new publication, “The Latino Cultural Guide”, by Fiesta DC aims to extol the talents
Washingtonians. and creativity of the Latino community. As President & CEO of the Greater Washington
Hispanic Chamber of Commerce, I consider this our newest tool to boost the economic
Thank you for all your hard work and commitment to the Latino community. development of the community at large.
The Latino Cultural Guide has two purposes: First, to introduce all residents and visitors
Saludos,
to the richness of Latino talent in the region and, second, to direct our efforts in
supporting those included in the publication.
For Washington, DC to become a world-class city, it must incorporate the array of

cultures that makes the city their home. With this book, Fiesta DC has given us a starting
point.
Manuel Hidalgo I encourage you to use this guide to support our unique artistic talents. I hope that you
Executive Director find the information useful today and in the years to come.
Sincerely,
Ana Recio Harvey

President & CEO
Greater Washington Hispanic Chamber of Commerce
12 Introductions Back Latino Cultural Guide Latino Cultural Guide Next Introductions 13
History and Acknowledgements our Latino artists and their non-Latino colleagues who enrich our culture.
In these pages you will discover talented musicians who have shared the stage
Alfonso Aguilar with international figures in a variety of musical genres. You will learn of dance
Executive Editor of the Guide groups and instructors with numerous presentations in countries from Argentina
to Mexico to Germany to Japan. And you will also enjoy a tour of two existing
I n 1997 a group of activists re-established in Washington, D.C., the Centro de

Arte, a cultural entity founded in the 1970s that sooner or later, directly or indi-
rectly, attracted all the local Latino artists to its programs in music, dance, theatre,
theaters of international renown.
I extend my appreciation to the consultants and staff responsible for the produc-
tion of this Guide. A special mention is due Luis Rumbaut, a familiar name in our
ceramics, sculpture, photography, and painting, including of murals. community’s history, who assumed the weight and responsibility of editing the
The new Centro de Arte was short-lived, but it should be remembered that at publication. His vast knowledge of Latin America’s culture and his experience as
the re-opening ceremony a complete inventory of local productions by Latino art- a member, and in some cases, founding member, of a variety of folkloric and per-
ists was unveiled. The collection included recordings from the first documented LP forming groups is easily perceived and enlivens these pages.
in 1971, “Los Internacionales de Washington,” to “La Chanchona de Moncho” of Our creative Art Director José Sánchez needs no introduction, as these elegant
1977. and imaginative pages so dearly demonstrate.
During that time there were numerous musical groups such as La Tribu, Izalco, Ligia X. Muñoz and Gretta A. Rivero, our principal researchers, completed their
Liberación, Esmeralda, Banda Angélica, Alborada, Sonora Nuevo Amanecer, Am- tasks promptly and intelligently without neglecting their daily responsibilities as
nistía 87, Eclipse, Laya, Estrellas de El Salvador, Generación 2000, Lilo y los de Administrator and Marketing Director, respectively.
la Mt. Pleasant, and los Hermanos Villavicencio, and soloists like Luciano Santa- Special mention must be made of Kenia Lobo, a 15-year-old student who under-
maría, Humberto Antonio, Lesly Daily, Julio Coco Sosa, Tony Gil, and Zully de took the research for our section on Norteña groups and on various soloists.
Venezuela, most of them with at least one recording. Finally, we give special thanks to all of the artists and groups whose years of
With the passing of the years most of these soloists and groups merged with oth- work give substance to this Guide, and whose interest and ideas helped bring the
ers, became inactive, or simply disappeared. Nonetheless, many of the “old guard” project to life.
are still performing: María Isolina, Jorge Anaya, José Reyes, Amín Segundo, Charro
Javier, Gustavo Nieto, and Miguel Chacaltana, and bands like Zeniza, Rumba Club,
Mystic Warriors, and Dúo América.
At the same time, folkloric dance groups became regular participants in festivals,
independence day celebrations, and a wide variety of local and nationals events.
A quick look back brings to mind groups such as El Pulgarcito, Ballet Folklórico
Dominicano, Viva Flamenco, Grupo Folklórico de Paraguay, Acuarelas Peruanas,
Pallas de Corongo, Asociación Folklórica Negritos de Huánuco, Raíces del Perú,
Danzas Peruanas Matices, Unión de Instituciones Peruanas and Unión Cultural
Huancayo.
Most of these groups are now inactive or no longer in existence.
During the 70s and 80s there were at least two ground-breaking theatrical com-
panies that have since dissolved: Teatro Nuestro, in its early stages under the aus-
pices of Centro de Arte, and LatiNegro, under the leadership of Quique Avilés.
photo: ALFONSO AGUILAR
We bring to mind these recollections of our cultural past with the hope that one
day there will be time and resources to analyze and document the artists and groups
which gave form and substance to our community’s artistic expressions from 1970
to 2000.
For now, Fiesta DC and its research team for the Cultural Guide take pleasure in pre-
Above: A collection of recordings by local Latino artists
senting this first effort to document, in a single publication, the work of, and to promote, exhibited in 1997 at Centro de Arte de Washington.
Our Music and Folklore The Andes

Andean folk music has ancient roots, with an original instrumentation—wooden and
Luis Rumbaut
reed flutes, pan pipes, sea shells—supplemented by the Spanish guitar and its unique
Editor
derivative, the charango, a small string instrument made from wood or from armadillo
I t would take a book to cover adequately the scope of Latin American cultural tra-
ditions. Geography has served to separate and to give a distinct sound to regions
defined by mountains and valleys, rain forests, great plains, and coasts. History and
shells. A great many forms exist within the general category of Andean music, extend-
ing from northern Chile and Argentina through Bolivia, Peru, and Ecuador into Colom-
bia and Venezuela.
demography also have come into play: Latin American culture shows influences
from hundreds of original American as well as African tribal and language groups, The Caribbean
and from an assortment of European national and intra-national cultures. The Caribbean has produced a variety of rhythms that, perhaps because of the re-
Spain brought different languages and cultures besides those of the Castilians, gion’s nearness to the U.S., became well known here, even turning into popular fads.
including those of the Celts in northwest Galicia and Asturias, the Basques in the Cuba and the Dominican Republic, small island nations, have generated a dispropor-
mountainous north, the Catalans on the upper Mediterranean coast, and the Roma tionate share of the Latin American music familiar to U.S. Americans, such as meren-
(gypsies), not to mention the results of 800 years of occupation by the North African gue, cha-cha, conga, rumba, bolero, and, more recently, bachata. Mexico and Puerto
Moors, especially in the southern province of Andalusia, named after the Arabic Rico adopted the bolero and contributed greatly to its development, while Mexico did
Al-Andalus. likewise with the Cuban danzón.
Colonial-era African slaves came from regions such as present-day Guinea, Gha-
na, Benin, Nigeria and Cameroon, down to Congo and Angola. The greatest Native Salsa
American civilizations arose in the Andes, where the Incas became the dominant Cuba in particular has had a long history of musical interchange with the U.S., be-
empire; and in Mesoamerica, the region comprising today’s Mexico and Central ginning in New Orleans at the very birth of jazz, of which it was part. Later on, island
America, where the Olmec gave way to the Maya and the Toltec and finally the greats like Machito, Mario Bauza, and Arsenio Rodríguez brought Afro-Cuban rhythms
Aztec as successive dominant civilizations before the Spanish arrived. Brazil adds to New York, giving rise to Latin jazz. The break in relations between the two coun-
a combination of Portuguese and African, as well as sounds from an Amazonia that tries in the 1960s isolated the Cuban sound from the U.S. The son, the heart of Cuban
is shared by the nations that surround Brazil. Portuguese fadó and a touch of jazz popular music, then evolved in New York, the eternal Iron Babel, into salsa, blending
blended with Brazilian samba, famous at carnival time, into the now equally-famous with Puerto Rican bomba and plena and rhythms from Panama and Colombia as well
bossa nova. as from the local jazz scene. The resulting sound was taken up enthusiastically around
the Caribbean and then elsewhere. The Dominican merengue (also from Haiti), guar-
Similarities and Coincidences anteed to get people up and dancing, does not fit into the family tree of son/salsa, but
The plains of Argentina and Uruguay, like the plains where Colombia and Ven- it was unavoidably present in a city with a growing Dominican population, and it was
ezuela meet, are a region of open spaces and distant horizons, cattle, and asados played alongside salsa by the same bands. Today’s Latin dance bands and orchestras
(outdoor grills), home to the self-reliant gaucho and llanero, respectively. Argentina play mainly salsa and merengue.
and Uruguay compete for the championship in tango, which sounds the same in both
countries. There is no difference between the Colombian and the Venezuelan music Colombia
of the plains, defined on both sides by the joropo and its variants. Colombia, too, has been a musical powerhouse. Among its very many styles, two
The original zamacueca became the cueca in Chile and Bolivia, the marinera in have stood out in the US: the slow and sinuous cumbia and the faster vallenato, or
Peru, with a more distinct African influence, and the melancholic zamba in Argen- born-in-the-valley, so called because of its origin in Valledupar (Valley of Upar), where
tina (which is nothing like the Brazilian samba). the northern Andes point to the Caribbean Sea. Vallenato was built originally around
The harp appears, in hopscotch fashion, in Mexico’s Gulf coast, the Colombian- an accordion player/singer, a caja or drum, and a scraper (guacaracha), but now has
Venezuelan plains, Paraguay, and high in the Andes. expanded to a fuller format. The cumbia, originally in a simple format of drums and
Peruvians and Bolivians may claim for themselves the origin of established An- hand percussion, later adopted the native wooden flutes (gaitas) and subsequently, like
dean genres like the huayno, but people from both countries also point out that it vallenato, a larger format. It expanded to Central and South America, especially to El
does not matter much, as that music developed long before the current national bor- Salvador and to Ecuador and Peru, in local versions called cumbia and cumbión, whose
ders were set, and spans both countries. roots are evident but with less of the coastal-African cadence of the original.
Mexico and Central America as those played in abakwa ceremonies, the hourglass-shaped batá drums, and, on
Farther north on the continent, Mexico dominates the sounds of Central America. the eastern end of the island, drums that first came from Haiti, made in sets. The
Mexican corridos and rancheras, and songs from the northern states, norteñas, are Dominican tambora, a small two-sided drum played horizontally with one hand
also favorites in the rural areas of many other countries in the region, including the and a striker, is at the heart of the merengue; the Puerto Rican plena uses a set of
Caribbean. The mariachis, characterized by violins and trumpets in combination three tuned hand drums, the pleneras. Venezuelans celebrate San Juan Day with
with unique Mexican guitars, are said to derive from string ensembles that during very long drums, the minas (also from the Congo), placed on supports parallel to
the French occupation entertained at marriages, a word with the same meaning in the ground, over which the players stand, and with other, smaller, drums.
French as in English. Mexico is best known for the son of Jalisco, and also the The traditional cumbia makes use of specific drums: the alegre, or lead hand
son of Veracruz (birthplace of the original La Bamba). Along the U.S. border, the drum, the llamador, a smaller hand drum, and the tambora, a double-skinned bass
traditional norteña (northern) small ensemble typically includes a 12-string guitar, drum played with drumsticks. In the currulao, one musician plays a drum known
snare drum, and accordion. Across the southern border, in Guatemala, the national as a cununo, striking the drumskin with one hand and tapping the side of the drum
instrument is the marimba. Its tuned wooden staves, struck with mallets, produce a with a small stick, while a second musician keeps time on a shaker known as a
gentle sound that today typifies Guatemalan music. Salvadorans have brought to the guasá or guache, a hollow cylinder made of metal, wood, or guadua bamboo, filled
US not just their version of norteñas and cumbia, but also of merengue and, more with light seeds and sometimes rice. Other musicians play a syncopated melody
recently, Dominican bachata, a modern favorite. on paired marimbas, one in the lower register and one in the high register.
A Brazilian batucada or parade percussion group, an assault on the senses, re-
quires a small store’s worth of drums of varying sizes, from small hand drums to
Small Guitars large cylinders hung from the shoulders. For sambas there is also the cuica, the
Every region has its own version of small guitars. The Puerto Rican cuatro is small drum that makes a squeaking sound when a rod attached to the inside of the
emblematic of the island’s identity; similarly, the Cuban tres, although there is also drum’s skin is rubbed.
a Cuban cuatro. That one is different from the Puerto Rican version, which sounds The snare drum—like the tambourine, very much an import from Europe—is
much more like the pear-shaped Cuban laúd. Venezuela, too, has a cuatro, also rep- used in norteñas in Mexico and with other percussion in Brazil. In the Andes and
resentative of the nation, but it is smaller than the island cuatros, with nylon rather northern Argentina, the deep-voiced bombo rules. It’s made from wood, with goat
than steel strings. It is played also in parts of Colombia, as is the related bandola, or a similar skin still with the fur on it. Its position, hung from the shoulders and
which comes in different flavors. Beyond the cuatro, Venezuelans have taken the to the side, may indicate an adaptation from European military drums, which of
time to develop the cinco, cinco y medio, and seis. Colombia, for its part, is known necessity were to be played while in motion.
for the tiple, a kind of small 12-string guitar. There is a tiple in Chile, too.
Mexico’s son jarocho, from Veracruz, uses the small four-string jarana and re- Parade Contingents
quinto. But different requintos, which look like standard six-string guitars but Folk expressions are common at festivals like Fiesta DC’s own annual Latin
smaller, are widespread throughout the continent. Mariachis use the vihuela, with a American Festival. The highlight at many festivals is the parade of comparsas, or
back that protrudes sharply, and its king-size cousin, the guitarrón, a bass guitar held groups that combine music and traditional dances with costumes that match the
horizontally in front of the performer. theme or story of each comparsa. The roots of these are found partly in ancient
Panama has two related instruments, the mejorana and the socavón, which differ European carnivals, but in modern festivals the contents present the mixed cultures
in the number of strings but share a very small fingerboard of only five frets. Brazil of Latin America, in which indigenous and African elements feature prominently.
has the strange viola de cocho, which uses only two or three frets, as well as the
popular little guitar, the cavaquinho. The Andes have produced several styles and The largest ensembles in this area are those from Bolivia. Parade groups com-
sizes of charangos. Various mandolins, bandolins, and bandurrias make the rounds pete with dazzling large-scale costumes imported from the home regions, rep-
of the continent. resenting characters and stories that reappear in such parades everywhere from
Oruro, Bolivia to Stockholm, Sweden and, of course, Washington. Musicians,
Drums especially percussionists, often perform live during the parades. Uruguay’s par-
As with small guitars, Latin Americans use a startling variety of drums. The best ticipation typically comes in the form of candombe, an African inheritance of that
known in the U.S. are surely the dance-band congas and the bongos of Ricky Ricardo country. Other nations with large populations of African descent, like Puerto Rico,
and beatnik fame, both from Cuba (indirectly, in the first case: the conga drum comes Cuba, Colombia, Brazil, Panama, and Venezuela, also bring percussive contin-
originally from the Congo region), and then the timbales, made famous here by the gents, while a different music is heard from the contingents that represent coun-
Puerto Rican Tito Puentes. But even in Cuba there are a variety of other drums, such tries such as Guatemala, Mexico, or Paraguay.
18 Choral and Symphonic Music Back Latino Cultural Guide Latino Cultural Guide Next Choral and Symphonic Music 19
CONOZCA
SUS
DERECHOS
Choral
and
Symphonic Music
We begin with what may be
the unexpected: choral and
symphonic music. Coral Antigas'
repertoire ranges from folk and
popular songs to orchestral and sacred
español
works, music that is both ancient and
modern, sung in various European and
Yo hablo Native American languages. Coral Antigas
has collaborated with a remarkable number
of other musical groups and appeared at
a variety of local, national, and international
venues. It has presented the local and U.S.
premieres of significant works.
The Pan American Symphony Orchestra, a
¿Sabía usted que las agencias gubernamentales
resident program of Trinity University in the
del Distrito de Columbia deben proporcionarle
District of Columbia, showcases orchestral
servicios en su idioma sin ningún costo? works of Latin American composers and
Para obtener más información sobre sus
is known especially for its performances
of symphonic tango. Its director, who
derechos, visite www.ohr.dc.gov
teaches music at the University, has
conducted in Agentina, Honduras, and
Russia as well as in Washington.
These two organizations remind us of the
many dimensions of Latin American music
and of the multiple talents and interests of
performers who reside in Washington and its
Oficina de Derechos Humanos de D.C. surroundings.
ADRIAN M. FENT Y, ALCALDE
20 Choral and Symphonic Music Back Latino Cultural Guide Latino Cultural Guide Next Choral and Symphonic Music 21
Coral Cantigas Pan American

F ounded in 1991, Coral Cantigas is the only
chorus in the Washington, DC area that spe-
cializes in music from Latin America, Spain,
and the Caribbean. Through performances and
and demonstrate performance styles from Latin
America, Spain, and the Caribbean.
The choir has presented the area and U.S.
premieres of Paco Peña's Misa Flamenca, An-
Symphony Orchestra
workshops, Coral Cantigas shares the artistic
and cultural diversity of the Spanish-speaking
world and serves as a bridge between the Span-
tonio Mir's Misa Coral, Luis Morales Bance's
oratorio Berruecos, Ernani Aguiar's Cantilena
and the anonymous colonial Bolivian work,
T he PASO is dedi-
cated to promot-
ing new symphonic
in America. They
performed a special
program featuring
ish-speaking and non-Spanish-speaking com- Misa Encarnación. works by Latin Amer- tenor Placido Do-
munities. The choir performs in Spanish, Portu- In 1996, Coral Cantigas represented North ican composers and to mingo at the Orga-
guese, and a variety of American languages and America at the "IV Encuentro Coral José An- showcasing new His- nization of Ameri-
dialects such as Nahuatl, Quechua and Creole, tonio Calcaño," one of the premier international panic music talent. can States. He has
with bilingual concert program notes and texts. choral festivals, held in Caracas, Venezuela. In A native of Rosa- also invited talented
Coral Cantigas has appeared at The John F. 2001, the choir opened its 11th season with a rio, Argentina, Maestro Sergio Alessandro Bus- musicians from the area's high schools to per-
Kennedy Center for the Performing Arts, Mex- tour of Puerto Rico. lje studied music from an early age and won the form in selected concerts of the Pan American
ican Cultural Institute, Strathmore Hall, Wash- The choir is named after cantigas, Spanish prestigious Alberto Williams Award for Young Symphony Orchestra, giving young musicians
ington National Cathedral, Capital Children's homophonic songs of the 13th Century that Musicians when he was only ten years old. He a rare opportunity to showcase their skills with
Museum, and performed under the auspices of develop from both folkloric music and sacred continued his studies in conducting, piano, vio- a full orchestra. In addition, Maestro Buslje is
the Washington Performing Arts Society, the chant. Coral Cantigas' repertoire ranges from loncello, and tuba at the Universidad Nacional a favorite guest conductor of the National Youth
In Series, the National Council of La Raza, folk music and popular song performed with de La Plata, Facultad de Bellas Artes in Buenos Orchestra of Honduras and hosted their visit to
the American Choral Directors Association folk instruments to classical works with orches- Aires. In 1986, he was the Boronda Scholar of Washington, D.C. in the Fall of 2003.
and the American Guild of Organists. Coral tra. The choir performs sacred and secular mu- Hartnell College in California, which took him Maestro Buslje teaches music at Trinity Uni-
Cantigas has also performed in collaboration sic of many traditions. to the People’s Republic of China, Taiwan, and versity in Washington and is a regular advisor to
with the Pan American Orchestra, The Men- The members of Coral Cantigas, its board Japan to study music with major national art- the Maryland State Arts Council. He has been
delssohn Club of Philadelphia, the Cathedral of directors, and its audiences demonstrate ists. the creative force behind the Pan American
Choral Society, New Century Singers, VOCE the organization's commitment to serving as a Before founding the Pan American Sym- Symphony Orchestra, bringing to Washington
Chamber Choir, Tepuy folk ensemble, and The bridge between the Spanish-speaking and non- phony Orchestra in 1991, Maestro Buslje was audiences a refreshing alternative to mainstream
Chamber Singers of Bryn Mawr and Haverford Spanish-speaking world, with half being native Assistant Conductor of the American Univer- orchestral repertoire.
Colleges. Spanish speakers and half being from other cul- sity Symphony Orchestra and conductor of the The Washington Post described his pro-
In addition, the choir has hosted area perfor- tures. American University Camerata. Since 1990, he gramming as “utterly unlike anything else that
mances by "Coral del Banco Industrial de Vene- Coral Cantigas has been awarded grants has been frequently featured as guest conduc- is likely to happen in Washington this season”
zuela," the Argentine group "Opus Cuatro," and from the Arts and Humanities Council of Mont- tor in Argentina, and, since 1999, the principal (1996). With his “sure command of the music’s
"Cantaré", a local Latin American ensemble for gomery County, Bank of America Foundation, guest conductor of the National Symphony Or- expressive scope” and his sensitive balancing
children. Guest artists for previous years include The Morris and Gwendolyn Cafritz Foundation, chestra of Honduras. In 2001, he was a Ful- of orchestral commentary (Washington Post
Tina Chancey and Scot Reiss of the early-music the Marpat Foundation, the Maryland State Arts bright Scholar to Honduras, where he conduct- 1998), Maestro Buslje has “quietly created a
group Hesperus, and the Children's Chorus of Council, The Eugene & Agnes E. Meyer Foun- ed the National Symphony Orchestra of Hondu- valuable Washington institution” (Washington
Silver Spring, among others. Coral Cantigas dation, the Executive Ball for the Arts and Hu- ras and developed its season programming. In Post 1999).
also hosts a workshop led by outstanding Latin manities, the Cultural Office of the Embassy of June 2001, he conducted the Sochi Symphony
American scholars and performers, who teach Spain, and the WGMS 103.5 Performing Arts Orchestra in Sochi, Russia.
Fund. In May 2002, he conducted the
Contact: Diana V. Sáez, Founder, Director Contact: Sergio Alessandro Buslje, Founder, Director
301-424-8296 Youth Orchestra of the Americas, 202-884-9008
coralcantigas@comcast.net a new ensemble made up of tal- info@panamsymphony.org
www.cantigas.org ented musicians from across Lat- www.panamsymphony.org
22 Bands and Orchestras Back Latino Cultural Guide Latino Cultural Guide Next Bands and Orchestras 23
Bands
and
Orchestras
The largest section of this Guide is on bands and
orchestras (orquestas). For these purposes,
a band is simply a musical group composed
predominantly of related instruments such as
percussion, brass, woodwinds, or strings.
An orquesta, however, has a more specific
meaning for dance music from the Caribbean
area. It is composed of several sections: 1)
congas, timbales, bongos; 2) keyboard, bass,
electric guitar; 3) trumpets and saxophones,
or violins; 4) voices (with the singers often
accompanying with hand percussion such as claves,
maracas, or scrapers); and 5) varied instruments
such as flute, clarinet, tres or cuatro.
Some groups use “Orquesta” as part of their
names; others don’t. The Guide follows their
preferences. In broad terms, bands and orchestras
correspond to small and large formats, respectively,
although some bands are large.
This section includes two bands from the English-
speaking Caribbean, Image Band and Panmasters
Steel Orchestra.
Preceding pages:
Bolivian dancers at
Fiesta DC 2007.
Right: Pedestrians
crossing at the heart
of Georgetown
neighborhood.
Antoni809
The band plays not just merengue,
but also salsa, bachata,
reggaeton and Latin jazz
Eclipse, a famous
M
gue.
usical director and lead saxophonist Antonio Carr created Antoni809
in 2003 with the sole purpose of re-inventing the image of meren-
Latin rock band Merengue, from his native Dominican Republic, has taken a back seat in
made up of
Salvadorans and
the past five years due to the hype and publicity of reggaeton and bachata
Peruvians, was one music. These new genres, with their great beats and fresh new images, have
of three groups attracted more audiences all over Latin America, Europe, and the United
with three records States. It has been decades since stars Johnny Ventura and Wilfrido Vargas
each in the 90s: took merengue music to that level of popularity. Antoni809 is about to take
photo: gilberto meza
Mundo metal
(1992), American
it a step further.
Way (1994), and Antoni809 is currently working on its first CD, with completion expected
Asesinos en el by Fall 2008. Simultaneously, the band is performing all over the East coast
tiempo (1997). entertaining audiences of all cultures and backgrounds.
Dúo América was Antoni809 is made up of 14 musicians, most of whom live and work in
Afro Nuevo
Above: Afro Nuevo at another group with
three productions at
the Philadelphia and Washington, D.C. areas. The band members are most-
a Fiesta DC event in
2008. that time: Cantando ly Dominican,
a Latinoamérica while four others
Below: The band at a (1993), Cantando al come from Puer-
rehearsal. Corazón (1994), and to Rico, Haiti,
Traditional Cuban rhythms Dúo América por
siempre (1995).
Nicaragua, and
the U.S. Most
and up-beat Latin jazz Mystic Warriors also
had three records in of the musicians
the market: Mystic have played with
F ounded in 2006, Afro Nuevo focuses on traditional Cuban rhythms Warriors (1993), The other well-known
Shadow of the Sun
and up-beat Latin jazz. The band has performed at private events, (1995), and Beyond
Latin artists such
restaurants such as Havana Village and Mag- Reality (1997). as La Cocoband,
giano's, and other settings in the DC-Baltimore While Eclipse Fernando Villa-
area. disappeared years lona, Los Hermanos Rosario, Mannikomio, Oro Sólido, La Artillería and La
Its current members are Roberto Dominich later, Dúo América, Banda Loca. The set-up, or layout, of the band is typical of other merengue
although not listed
(congas, back-up vocals), Trey Charles (piano), in this guide, is still
bands--but with a twist: three vocalists, four horn players, three percussion-
Américo Méndez (bass and lead vocals), Benito active, as well as ists, piano and bass.
López (timbales and back-up vocals), and Tila Mystic Warriors. Antoni809 plays not only merengue, but also salsa, bachata, reggaeton
(trumpet). and Latin jazz. Antoni809 is dedicated to entertaining audiences all over the
Contact: Anthony Carr, Musical Director
world for a very long time. With their hip
Contact: Benito López, Booking Contact
301-343-6182 202-276-0309 new image and powerful performance ethic,
blopezx@hotmail.com Tonysaxxo@yahoo.com they are sure to succeed!
photo: JOSE SANCHEZ

Armonía Latina
The band plays a wide variety of tropical,
Caribbean and South American Latin
rhythms and traditional Afro-Peruvian music
The first Latin

American LP by
a local group was
Ashe
recorded in 1971.
Los Internacionales
The musicians want to introduce
named their
historical recording their audiences to a
different style of salsa
Los Internacionales
de Washington.
photo: JOHNY LEYVA
César Donald
Musical Tips
S
(below), who died
in the mid-90s, was ignifying life force and energy in Yoruba language and culture, Ashe is
a member of the also a powerful concept in Cuban popular and folkloric culture. Timba,
band. or modern Cuban music at its most energetic and multifaceted, is an urban
Brazil, the sixth most-

populous country
F ounded in 2008. Under the musical direction of Francisco Aguayo,
Armonía Latina plays a wide variety of tropical, Caribbean and South
American Latin rhythms such as salsa, merengue, cumbia, bachata, reg-
expression that fuses native African and Cuban rhythms, as well as Afro-
American funk, jazz, soul, and go-go. Aramis Pazos Barrera, a native of the
neighborhood El Cerro in Havana, Cuba, has formed his own group to con-
in the world with uetón, cha-cha-chá, bolero and even traditional Afro-Peruvian music. The tinue to promote this tradition in the United States. He and his musicians
approximately 185
million people, has
group also caters to non-Spanish speakers with a repertoire of songs from want to introduce U.S. Americans to another style of salsa, different from
decided to teach the 50s to current dance hits. Puerto Rican salsa and "salsa romántica."
Spanish as a regular Armonía Latina has been performing in clubs, weddings, anniversa- Orquesta Ashe is composed of three singers, three percussionists (drum
subject. That is ries, birthdays, and corporate and special events throughout Virginia, set/timbales, congas, and bongos), bassist, pianist, saxophonist, flute player,
proposed to happen Washington and Maryland. trombonist, and trumpet players. Although Ashe appeals to young popular
also in the Philippines.
audiences, it celebrates Contact: Aramis Pasos, Director
Contact: Francisco Aguayo, Artistic Director
301-275–8700, 703-968–6340
the traditions that are 202-689-5015
Preceding pages: armonialatina@armonialatina.com César Donald. nostalgic for older audi- info@tumbaoproductions.org
Dancers at Mexico www.armonialatina.com ences as well. www.tumbaoproductions.org
Lindo Night Club in Va.
Batala
The band is open to anyone with an interest
Bio Ritmo
They bring salsa "into the now"
in learning the samba-reggae beat from Brazil through skillful layering of jazz, urban,
electronic and global sonic influences
photo: KENIA LOBO
W ashington, D.C.’s Batala is part of a larger Batala family created in Above: Batala at
International Women’s
1997 by Giba Gonçalves. Born and raised in Salvador, Bahia in Bra-
Day in 2008 .
zil, Giba was living in Paris when he first had the idea for the band. Open
to anyone with an interest in learning the samba-reggae beat, the band Below: Band members
started off with 60 people. From Paris it spread to other cities in France, at a street parade in the
Belgium and the United Kingdom. In 2003, the band finally made its way Latino Festival 2007.
back to its origins, brought to Brazil by Paulo Garcia, also the founder of
photo: CHRIS SMITH

the Portsmouth Batala.
A composer and musical director, Giba en- Musical Tips
listed the help of friends from the bands and
from Salvador in order to create the visual iden-
tity of the band. The instruments and clothing
are all manufactured in Salvador, Bahia, where
the band has a social program that gives jobs to
Spanish ranks second
T he ever-evolving sound of Richmond, Virginia-based eight-piece salsa
powerhouse Bio Ritmo is proudly rooted in the great Afro-Cuban &
Puerto Rican salsa traditions. It is their vision for bringing salsa "into the
or third in the world-
many families. From there they are shipped to -after Mandarin and, now" through skillful layering of jazz, urban, electronic and global sonic
the bands around the world. In 2007, the newest sometimes, English or influences while maintaining the integrity of their foundation, and unusu-
branch of the Batala band was created in Wash- Hindi/Urdu--in lists of ally profound and introspective lyrics, that have allowed the band to create
the languages most
ington, D.C., expanding the reach of the band’s used as native tongues.
a body of music and range of audiences.
photo: RAFAEL CRISOSTOMO
music to the United States. Today, the band has Since its origin as a percussion ensemble in 1991, Bio Ritmo has released
over 300 percussionists worldwide. four critically-acclaimed full-length albums:
Contact: Entour Entertainment Gabo Tomasini
Contact: 888-547-7418
Bio Ritmo (2004); Rumba, Baby Rumba
Juliana, Patricia
202-361-8993, 202-361-8992 salsa@bioritmo.com (Mercury, 1998), Salsa Galáctica (1997)
www.batalawashington.com www.bioritmo.com and Que siga la música (1996).
Cabasa
Latin jazz, bossa nova, samba,
salsa, cha cha, bolero
T he group starts as a trio for cocktail hour,
but to fit a specific affair can add horns,
a singer, and a conguero, and turn any event
Cabasa performs weekly in local restaurants
and bars in the Washington area.
into a salsa dance party. Led by Salvadoran

piano master Samuel Munguía, and compris- Contact: Ken Lewis, Manager
ing some of the best local professional mu- 202-302-1721
sicians, Cabasa always entertains...and can kennylewis@aol.com
www.myspace.com/cabasaband
even play quietly.
THE SONS OR DAUGHTERS of many musicians and singers are now members of others groups or
play with their parents or relatives. Marimba Xelajú and Marimba Mi Pequeña Internacional have
always been family groups, with parents playing with their children or other relatives.
Furia Band
Lilo González’s son, known
as “Lilito,” is a founding
member of Machetrés, a
Latin rock group listed in
this guide. María Isolina’s
two boys, Daniel and
Miguel, usually perform
On the radio and on the road, Furia Band

along with her in Sol y
Rumba Band, also listed in
this guide.
Amín Segundo, Carlos
Arrien, and Daniel Sheehy, plays cumbia, merengue and bachata
among many others, also
T
have musical children. he Furia Band has been going strong since
Segundo’s son, Jaime
Rafael, is co-founder of Los
its founding in 2004. It has been featured on
Grandes de El Vallenato; just about all the Latin radio stations in the area,
Arrien is a member of and also out of state. The band has traveled to
Los Rumis, where his son Florida, New York, Texas, Massachusetts, and
Mariano plays various California, among others places. The eight
instruments, and Daniel María Isolina’s sons, Daniel and Miguel.
“Danny” Sheehy, Jr.
members of Furia Band are from El Salvador.
performs with the band that his father created in the 70s, Mariachi Los Amigos. Its first CD, Alegría total is due at the end of
Peruvian signer Vicky Leyva is a special case. Two of her daughters, Vannesa Díaz and SuleyD, are lead this year.
vocalists for the orchestras La Tremenda and Armonía Latina, respectively.
Surely, talent is passed down from generation to generation. Contact: Danny López, Manager
202-409-6489
danny@furiaband.com
www.furiaband.com
Gato + the Palenke

Music
Co. The band that best
represents the fusion that is Washington–deep
Latin folklore meets classic salsa,
with equal parts tropicalia and rock
Image Band
The versatility of the members,
enables them to play
various musical genres, including R&B, hip-hop Musicaland
Tips
dancehall, but soca is the heartbeat of this band
W hile no one was looking, Washington, D.C.
became one of the most dynamic cities in the
world for Latin music. With hot musicians pouring
Salazar–“Gato”–has been searching for a musical
way to represent the incredible diversity and vital-
ity of the latest round of immigration in the Ameri- W ith harmonious rhythms and dynamic vocals, this electrifying group
of musicians has shattered all traditional notions of success in the Ca- Shakira, the hugely
into the capital from Peru, Colombia, and Venezu- cas. His lyrics are mostly related to the feeling of ribbean entertainment industry. The band fulfills regular engagements in successful Colombian
ela, not to mention North America, it was simply many emigrants who leave their country in search numerous cities of the U.S. East Coast, Canada and the Caribbean. In St. artist, was born in
a matter of time until something new and crucial of new opportunities; they speak of wanting and Croix, Virgin Islands, the group is host to the largest New Year’s Eve events. Barranquilla from a
began taking root. longing, reconciliation and hope. And the music Their live act is so mesmerizing, it has been repeated consecutively and Colombian mother
and a Lebanese
During countless knock-down-drag-out Fri- behind it simply kicks. grows larger each year. father. That explains
day and Saturday nights, Washingtonians have Palenke Music Company crystallized this vi- In the Washington, D.C. Carnival arena, the group’s home base, the Im- her name, Shakira
been sweating to one of the greatest party bands sion the only way it could–by honing its live sound age Band participates in highly-competitive contests and against some of Mebarak, and why
in America, without knowing they were getting in countless bars, weddings, concerts, embassies, the Caribbean's most revered bands. The Image Band was the first to win the in school she was
an earful of original Latin fusion–brand new Latin and festivals and learning to keep everybody, from 1994 Best Musical Band Award presented by the DC Carnival Committee. known as the “belly
dancer girl.” There is
rhythms designed to pay homage to Latin Ameri- every country, dancing for hours. In 1998 and 1999, they were crowned as Baltimore's Brass-O-Rama cham- a huge statue of her
ca’s culture while keeping America dancing until Now, as a testament to this infectious energy, pions by the TNT Day in the Park Association of Baltimore. These accom- in her home town.
it’s sweaty and spent. Palenke releases La Situación, a completely original plishments reflect the group's pursuit of musical excellence and encourage
Gato + the Palenke Music Co. is the band that best blend of music in twelve tracks. This newly-released the members to continue striving for more.
represents the fusion that is Washington–deep Latin record is an elaborate blend of diverse Latin Ameri- Yo ready? Le meh see yo! Those are the words pumping through the sound
folklore meets classic salsa, with equal parts tropicalia can rhythms, such as salsa, merengue, seis chorreado, system as the lights come up and soca/dancehall powerhouse Image Band hits
and rock thrown in for good measure–,both Americas festejo, bomba, cumbia, merecumbé, punta, gaita as the stage again for another foot-stomping show. Every journey to the stage is an
collide, and everybody is having a great time. well as blues and reggae. No band has ever combined opportunity to make a musical statement. Pulsating percussive rhythms, throb-
Since 2002, singer and composer Jaime Andrés these rhythms, which, together with Salazar’s heartfelt bing guitar and bass riffs, steady keyboard patterns, and the oily-smooth preci-
Contact: Jaime Salazar, Artistic Director songwriting, simply soar. sion execution of live horns complement the group's presentations. The versatil-
240-426-7174 Palenke was nominated to compete at ity of the musicians enables them to play various musical
gato@palenkemusic.com Burger King’s "Tu Ciudad, Tu Música" at the genres, including R&B, hip-hop and dancehall, but soca is Contact: See Web site
www.palenkemusic.com www.imageband.com
116st NYC Festival. the heartbeat of this band.
JCJ Band
Playing to please
Latin American and
Anglo-American
audiences
Festival, the largest Hispanic festival in the
capital city. This performance marked the offi-
cial debut of the band, attracting the attention of
local Hispanic media and pleasing an audience
of 20,000.
JCJ band has played from 1990 until the
present in almost all of the Hispanic clubs in
southern Maryland, Washington, and northern
Virginia, providing night after night some of the
best entertainment found in the area. The band
demonstrates at every performance that playing
several styles of music is the only way to please
not only a Hispanic audience comprising a wide
variety of nationalities but an Anglo- American
audience as well.
For years, JCJ Band's popularity has never
declined, considered "the icing on the cake"
when hired by local promoters as the open-
ing band for international stars. Currently, JCJ
Band is also performing in New York, Philadel-
T he band was founded in 1990 by Camilo

Toledo, bass player and arranger, with the
objective of forming a professional yet totally
phia, New Jersey and Boston.
unique band. Musicians from a wide variety of

backgrounds create an eclectic flavor and evolv-
ing sound that can only be distinguished as its
own.
In 1990, JCJ Band played for the first time
at New York, New York, the best Latin club at
the time. The same year the band was asked to
perform at Washington, D.C.'s annual Latino
Contact: Camilo Toledo, Artistic Director
301- 933-8648
www.myspace.com/jcjband
photo: JOSE SANCHEZ
Joe Falero and DC Latin La Kumbia

Jazz All Stars Cumbia, merengue,
salsa, rock
Since 2002 the band has not stopped
playing mambo, cha-cha, salsa and more… E dson Zenteno is the founder of and guitar player for La
Kumbia. He started the band in 2006, playing interna-
tional rhythms, Bolivian traditional music, Latin rock, classic
rock, and cumbias argentinas called villeras and norteñas.
The band has two keyboard players, a bass player, a lead
guitar player, a drummer, a female singer and a male singer.
In addition to presentations in the Washington region, the
band has participated in musical events in places like Mi- In the late 80s there was a group
of young musicians named Grupo
ami, South Carolina, New York and New Jersey. The band is Las Américas, pictured here
available for private events like weddings, Sweet Fifteens outside a house in Columbia
and birthdays. Heights, Washington, where they
rehearsed. Later on, some of them
Contact: Edson Zenteno joined other groups.
703-929-0053
edsonzenteno@hotmail.com
Above: Joe Falero,

master percussionist,
salsa teacher,
M aster percussionist, salsa teacher, composer and DJ Joe Falero was
born in Santurce, Puerto Rico, where he started dancing and playing
instruments. He began playing with groups of bomba and plena, salsa and
composer and
DJ at one of his
merengue. Once he moved to New York City he learned to better appreciate
performances. Latin jazz, with thanks to his musical idol Tito Puente and his childhood
friend Giovanny Hidalgo.
He continued his musical career in New York City and then moved to
Washington. Joe played with several groups in the District until November
of 2002, when Joe Falero and DC Latin Jazz All Stars was born. Since
then they have not stopped playing mambo, cha-cha, salsa and more…They
have given more than 1,500 performances in venues such as the Kennedy
Center, Washington Convention Center, Lincoln Theatre, Maryweather Post
Pavilion and many hotels restaurants, clubs, music
Contact: Joe Falero, Band Leader festivals and private parties on the East Coast. They
202-270-9220 Cell
mrjoefalero@comcast.net
won the Stuck on Salsa Award in 2007 and they are
working on their first CD.
Los Rumis
Folk–Fusion from Bolivia
A new version of Rumisonko, Los Rumis is
a Latin American folk ensemble based in
Washington. Its members are originally from
more Folk Festival, and the Takoma Park Folk
Festival, among many others.
Rumisonko means “heart of stone” in the
Bolivia and the United States. The group’s language of the Quechua, a culture that spans
music is a combination of traditional Andean the breadth of the Andes Mountains in South
music and other influences from Latin America America. It is meant to express the enduring
folklore and The New Song movement. strength of the cultures that are the root of An-
The group’s members have performed in dean music.
venues such as New York’s Lincoln Center and
Contact: Carlos Arrien
the Kennedy Center. They have also appeared
202-340-9420
in the Smithsonian’s Folk Life Festival and in carlos@arrien.com
such events as the DC Latino Festival, Balti-
Los Grandes de El Vallenato

The group was made up of Hugo Moreno Sr. and Jr.,
Pedro Miguel Pájaro, and five other musicians
who had played with famous vallenato artists in Colombia
T his vallenato band was formed in 2000 when
the musical director and talented artist, Jaime
Rafael, arrived for first time in Washington, D.C.
Amín Segundo's older son, Jaime Rafael,
is a masterful accordionist. Jaime has learned
also how to play all the other instruments used
He founded this band with his father, Amín Se- in vallenato, such as caja, congas and other
gundo, along with other local artists of the area. drums, battery, timbales, güiro, and strings. He
Los Grandes de el Vallenato was made up of also teaches percussion to a group of musicians
Hugo Moreno Sr. and Jr., Pedro Miguel Pájaro, and percussionists at Montgomery College con-
and five other musicians who had played with fa- ducted by professional musician and Grammy
mous vallenato artists in Colombia. nominee Dr. Dawn Avery.
Amín Segundo has been a prodigious singer The third CD of Los Grandes de el Vallenato,
since he was 12 years old. His is a powerful Triunfando por el mundo: Jaime and Amín Se-
voice with the strong and special tone used in gundo, is one of the most popular on Colombian
vallenato songs. He is popular not only as a radio programs.
singer but also as a professional journalist with
his own radio company who enjoys working Contact: Jaime Rafael
hard to provide excellent service to the Hispanic 301-768-0039, 240-671-9314
community in the metropolitan area. aminsegundo@yahoo.com
Luz de Luna MelazaJazz

One of the better groups in the Virginia area, Latin jazz, bossa nova, son montuno
its repertory includes salsa, merengue, bachata, F ormed in the summer of 2004 by five or
six musicians, MelazaJazz group was con-
one of the best percussionists in the world for
this kind of music.
cumbia, reguetón gratulated by Poncho Sánchez in one of their

presentations at Havana Village in Washington. Contact: Louis Noboa
240-462-8820
This represents a huge success, as Sánchez is
Miguel Chacaltana y Grupo

Renacimiento
C hacaltana formed his Group Renacimiento in 1998 with
members Alex Chacaltana (brother), Marlon Chacaltana
(nephew), Jorge Gallo, Didia Córdova and Víctor Padilla.
Unlike with his second group, which focuses only on Peru-
vian music, with this second group he sought to expand the mu-
sical offer in varied Latin American genres.
Grupo Renacimiento has two CDs to Contact: Miguel Chacaltana, Artistic Director
its name, Basta de jugar and Que rico 703-544-3244, 703-338-4130
festejo, both with lyrics and music by chacaltaneando@hotmail.com
www.youtube.com/mikechacaltana
Miguel Chacaltana.
Miguel Chacaltana y
T Amanecer Criollo
his is without a doubt one of the bet-
ter groups in the Virginia area. Despite its
members' short trajectory together, they have
been able to make themselves the favorites of
the public in general, with a broad and varied
repertory for all tastes. If you are looking for the
F ormed in Falls Church, Va., in 1990, the en- Sabroso, El Chalán and Rincón Español. Cur-
semble Amanecer Criollo now includes a rently, Amanecer Criollo plays exclusively
classic or creole guitar, electric bass, congas, Afro-Creole music from the Peruvian coastal,
best live music for your party, look no further. Peruvian cajón (wooden percussion box played mountain, and rain forest regions.
We are your best option! by a seated performer), and vocalist.
It began playing at Latin American Contact: Miguel Chacaltana, Artistic Director
Contact: Polo Rodríguez 703-544-3244, 703-338-4130
embassies and restaurants such as La
703-496-0978 chacaltaneando@hotmail.com
Prodriguezd25@peoplepc.com Granja de Oro, Machu Picchu, El Tazu-
www.youtube.com/mikechacaltana
www.grupoluzdeluna.tk mal, El Majahual, Cecilia's, El Puerto, El
Movimiento
The group’s name reflects a conviction
that music and dance are inseparable,
blurring the line between performer and audience
A
Right: Movimiento, a new D.C.-based
new D.C.-based Latin Latin band, Mo-
band. The nine-piece
band consists of two vimiento features vo-
lead vocalists, two horns, cals, ripping horns, and a
three percussionists, hard-driving rhythm sec-
piano and bass. tion. The group’s name
reflects a conviction that
Preceding pages: music and dance are in-
This famous mural of separable and that the
Marylin Monroe looms
over the corner of best art is made when the
Connecticut Avenue line between performer Musical Tips
and Calvert Street, NW and audience blurs.
Washington. Movimiento has per-
Mystic Warriors
formed at music festivals
(Brookland Music Fest
2007) at conferences The Andean charango
(American University is often made from the
shell of the armadillo
Washington School of
Law conference on Hu- Universal peace and harmony (“little armored one,” in
Spanish). Chajchas are
man Rights and Trade in Colombia), fundraisers (for victims of the Peruvian
earthquake) and private parties. It also has performed at “Artomatic,” the ac- transmitted through ancient paired clusters of the
dried hooves of animals
Contact: Gregory Wierzynski, Artistic Director

202- 299-4343
claimed D.C. Arts Festival, and at Karma
bar restaurant. The nine-piece band con-
and modern instruments such as goats, sheep, or
alpacas. They produce
T
a short, wooden sound.
wierzynski@yahoo.com sists of two lead vocalists, two horns, he Mystic Warriors are dedicated to exposing the essence of Andean Mu-
www.myspace.com/movimientodc three percussionists, piano and bass. sic in a completely unique way. While their music style appears to fit into
the “New Age” category, it often sounds like world music, contemporary jazz,
Our City Latin or mainstream popular. They believe their music is a fusion that crosses
over all of these without leaving the boundaries of Andean music. More im-
portant than categorizing their style is their ability to deliver a message of uni-
versal peace and harmony transmitted by the combination of Andean ancient
flutes and panpipes with contemporary instruments.
Joining the ancestral sounds of the Incas with today’s newest sounds,
Mystic Warriors is dedicated to expos- Contact: Marco Mallea
ing the essence of Andean 301-929-8796, 1-800-604-6832
Left: View of mysticwarriors@aol.com
Georgetown
Music in a completely
www.mysticwarriors.com
University. unique way.
Nayas
Nayas’ music is like a shaman's bag,
with songs covering a variety of styles a
repertory that includes reggae roots-style, rock,
frenzy-dancing ska, poetic South American roots
Right: Nayas at a
performance. T he group was born in 2001 when Soy López and Luis Torrealva met in
Washington, D.C. Sharing similar musical interests they started writing
songs in a backyard, surrounded by the aroma of asaditos (meaning BBQs),
Below: The cover of the taste of cold beers, good friends with a nostalgic reminiscence of their
Nayas’s first self-
homes… After years of playing and having some reincarnations, Nayas’
titled album. They are
currently recording members are now: Soy López, lead vocals/rhythm guitar; Luis Torrealva,
their second. lead vocals/base guitar; Joey Carrasquillo, vocals/percussion; and Names
Thompson, drums/percussion.
The members of Nayas are lovers of all music. They continually welcome
guests from fellow local bands to collaborate and enjoy the sounds of good mu-
sic. Nayas has now become renowned in the Washington area, playing in com-
munity festivals, large performance venues, and intimate settings. They have
shared the stage with Vilma Palma, Amigos Invisibles, El Gran Silencio, Kinky,
Volumen Cero, Yerba Buena, Calle 13, Papa Grows Funk, Marc Anthony, and
fellow local bands. Their first self-titled album is already available and they are
currently recording their second.
Nayas’ music is like a shaman's bag, with songs covering a variety of
styles. Their lyrics come from very personal visions of the world that are
shared among people longing for happiness,
simplicity, relationships, community and friend-
ship. Everything is spiced with good humor
sending a positive message.
Nayas’ members are from Uruguay, Peru,
Puerto Rico and the United States. You might
see them in the neighborhood drinking pisco
sours after midnight…
Contact: Joey Carrasquillo, Manager

703-615-2129
www.nayasmusic.com
photo: LIZ PREOBOLOS
Onda Mix Orquesta La Romana

Cumbia, merengue, bachata, norteña, and romantic La Romana is the dancers’ and promoters’
S ince 2007 the band has played for important
community groups like Fraternidad Guate-
They are available to perform at birthdays, wed-
dings and other private parties in the Washing- choice for any activity
malteca. With a varied repertoire they put peo-
ple to dance: cumbias, merengues, bachatas,
norteñas and romantic music. They are formed
ton area.
Contact: Rafael Cruz, Director

F ounded in 1985, Orquesta La Romana has the
longest history of any orchestra in the area.
Known for its hard-hitting classic salsa sound, La
by seven Salvadorans and one Puerto Rican. 202-558-8140 Romana is the dancers’ and promoters’ choice for
any activity. La Romana has shared stages with
Orquesta La Leyenda
some of the greatest acts in salsa history. Current-
ly, La Romana serves as the Tito Puente, Jr. (son
of the late king Tito Puente) Orchestra on his tours
from New York City to Richmond, Virginia. The
Brings back the best in classic band has backed up solo artists such as Tito Allen,
Latin dance music and Latin jazz Cano Estremera and Lalo Rodríguez.
Current members of this salsa orchestra in-
L a Leyenda returns to the “old school” of love with traditional Latin music in the early
traditional Latin big-band dance music. It's 1990s. An avid student of the music and its his-
rooted in the repertoire of the New York City tory, especially the music of Cuba and of the
clude Edwin López, band leader; Polin,
saxophone; Herbie, trombone; Tony,
bass; El Guapo, congas; Andy, timbales;
Contact: Edwin Ortiz, Artistic director
240-498-5083
Information@orquestalaromana.com
Latin bands that thrived during the exciting early years in New York, Ted has played with Harvey, bongo; Pilo, trumpet; Robert, www.orquestalaromana.com
times when the U.S. first became enthralled by merengue-cumbia bands Ramón Lara y sus trumpet.
the music of its neighbors to the south. Small Profesionales and Zafiro, and with salsa bands
Orquesta La Sensual
combos, medium-sized Zeniza, Peligro, Grupo
conjuntos, and big bands Latino Continental and
played the hotels and Melao.
Catskills resorts where He has shared the
America learned to dance
the mambo, cha-cha-
stage with Celia Cruz,
Willie Colón, Joe Ar- The band provides some of the best salsa, merengue,
chá and rumba and first
saw tango dancers. They
royo, Grupo Niche, José
Alberto “El Canario”
cumbia and even Tex-Mex music around
brought with them an element from the streets and others. He is a respected arranger who has
of Spanish Harlem: a rhythm that is insatiable written many arrangements for various local
in urging its listeners to dance until the sun is and national bands. La Leyenda brings back the
T he passionate rhythms and expressive per-
formances of La Sensual have made this
band popular with Central and South American
performing in the area for the last 20 years with
different groups. She studied music at the Uni-
versity of Puerto Rico and plays guitar, flute and
well into the sky. best in classic Latin dance music and Latin jazz. communities. saxophone. Marcos and Lee describe La Sen-
The music–in truth, the music of the street– From the original big-band format, Ted has ex- Band director Rolando Marcos is a native of sual’s music as truly international. It is a fusion
grew into an industry that fostered the birth of panded the group’s concept to include two other Peru, where he was a member of the well-known of the modern sounds of electric guitars with
salsa and witnessed the arrival of new immi- bands: a seven-piece combo that specializes in group La Clave del Callao. The band moved to drums and the traditional sounds of tropical
grants who brought with them a love for the me- Latin jazz and a ten-piece conjunto whose forté the United States in 1990 and, citing creative Latin music. The unusual combination provides
rengue and cumbia and uncountable other dance is salsa, merengue and cumbia. differences, eventually split. Marcos performed some of the best salsa, merengue, cumbia and
rhythms from the Caribbean and from Contact: Ted David, Founder and Artistic Director with various other bands before moving from even Tex-Mex music around.
Central and South America. 301-864-3065 New York to D.C., where he met Brenda Lee, Contact: Brenda Li, Owner
D.C.-born saxophonist and flutist ted.davis@verizon.net his partner in La Sensual. 703-786-4996
Ted David started playing and fell in www.orqlaleyenda.com Brenda, a native of Puerto Rico, has been blbonano@yahoo.com
Orquesta Salsaley
Salsaley is known for its covers of songs from
salsa artists such as Héctor Lavoe, Grupo Niche,
Marc Anthony, Joe Arroyo, and Rey Ruiz
S alsaley is one of the youngest musical groups
in the Washington area. In 2007 two friends
whose passion is salsa started looking for musi-
cians to join them. After a long process there
were eleven in the band. Months of hard work
and preparation led to their first gig. Since then,
they have been playing for night clubs, festivals
and private parties.
Currently they are working on their first
single, Bacílame, a song that is getting stronger
every day. Salsaley is known for its covers of
songs from salsa artists such as Héctor Lavoe,
Grupo Niche, Marc Anthony, Joe Arroyo, and
Rey Ruiz, but they also play merengue and Co-
Contact: Julian R.H., Manager lombian cumbia.
240-461- 4719
www.myspace.com/sondedc
Orquesta Melao
The group was recognized by
The Washington Post as one of the best
orchestras in the local area
F ormed in 1996, Orquesta Melao has opened
for well-known international artists such as
Olga Tañón, Grupo Niche, Gilberto Santa Rosa,
orchestras in the local area. Orquesta Melao was
invited to play at the White House, and also has
played at the Kennedy Center, Carter Baron Am-
José Alberto “El Canario,” Conjunto Clásico, phitheatre, Merriweather Post Pavilion, organiza-
Maná, and many others. The group, made up of 11 tions of great prestige and many local salsa clubs.
experienced musicians, also
Left: Dancing in the Contact: Luis Noboa
street at the Latino
was recognized by The Wash-
ington Post as one of the best 240-462-8820
photo: JOSE SANCHEZ Festival.
Orquesta Verny Varela

Verny just released his new album Gracias,
written and arranged principally by him
Contact: Verny Varela, Artistic Director
202-291-5731, 202-329-2751
vernymacace@hotmail.com
www.vernymusic.com
F ounded in 2003. Verny Varela is an arranger,

composer, singer and flutist with a bachelor’s
degree in music from the Universidad del Valle
Colombia. The album got reviews in Italy and
Germany.
Now, Verny Varela is a student in the Jazz
in Cali, Colombia. He was born in Cali and Studies Program at the University of the Dis-
grew up in the “barrio obrero,” where he trict of Columbia. Verny just
Oscar Allauca y su Grupo

started singing and playing with his released his new album
father’s band, “El Nuevo Son.” Gracias, written and
In 1996 in Cali and in Tulua arranged principally
Ritmo y Sabor
he sang with Ismael Miranda, by him.
Adalberto Santiago and Pete
“El Conde” Rodríguez, mem-
bers of the Fania All Stars. In
1997 Verny was the lead singer
in the Gabino Pampini Band.
Since 2000, Ritmo y Sabor has been the source
Later, he went on tour in Europe
and in the United States with Tito
of Latin American music at Havana Village
Gómez. Verny wrote and sang for
Thievery Corporation on the albums
The Richest man in Babylon and The
T he group was born in 2000 in the heart of chorus); Ronal Mendoza (timbales, battery).
Washington's Adams-Morgan neighbor- Oscar Allauca can be contacted at P.O. Box
hood under the leadership of Oscar Allauca. 21124, WDC 20009.
Cosmic Game. Also, he wrote for Since then, it has been the source of Latin
and recorded on the Hip Hop CD American music at Havana Village. It has ap-
The 51st State. peared also at other events including the fol-
In New York in 2002 Verny lowing: the Latino Festival in Mt. Pleasant;
sang on the 40th Anniver- Hispanic Heritage Month celebration of 2004
sary CD of the outstanding and 2005 at the AARP; the celebration of 5 de
charanga Orquesta Broad- mayo in 2007; and the celebration of the Latino
way. In 2004 Verny released Economic Development Commission (LEDC)
his album Amar de nuevo, in May 2008.
which made it to the Latin The musicians, all of them born in Peru, are:
Grammy list of the best Oscar Allauca (bandleader, bass, voice); Contact: Oscar Allauca, Manager
tropical albums 2005. Songs Charles Marston (piano and voice); 202-387-3915, 202-486-6177 (Cell)
like Matilde and He vuelto Laura Sosa (voice); Hilder Cancho oscarallauca@hotmail.com
a amar became hits in Cali, (trombone); Angel Urquiza (congas, www.gruporitmoysabor.com
Pan Masters Steel Orchestra

The Orchestra brought Caribbean culture Musical Tips
to Virginia, Washington, and Maryland

T he Orchestra was born in 1985 composed
of performers formerly with the Trinidad
and Tobago Steelband of Washington. The
The steel pan was
a wonderfullly
original members include Frankie Baltazar, inventive
St. Clair Baltazar, Roland Barnes, Robert adaptation of
Barnes, Patrick Belle, Don Cumberbatch, African percussion
traditions using the
Malcolm John, Lennard Jack, Stephen Lan- once-plentiful steel
drigan, Joseph Lewis and Brian Solomon. drums of the oil
The band has traveled north as far as industry in Trinidad,
Brooklyn and south to North Carolina. Pan before the age
Masters won the 1993, 1994, 1995, 1996, 1997 and 1998 Steelband Champion award of supertankers.
Through heating
in the Baltimore Panorama Competition, and the judges’ award for outstanding perfor- and hammering,
mance at the 1993 through 2002, 2004 and 2006 DC Caribbean Carnival celebrations artisans deformed
on Georgia Avenue. It was chosen 1998 champion in the New York J'Ouvert compe- areas of the
Pablo Antonio y La Firma

tition, and gave several command performances at the Bluemont Concert Series. It curved bottom
was the only participating steelband at the inaugurations of President Bill Clinton and of the barrel,
obtaining different
Mayor Marion Barry. Pan Masters continues to participate in community outreach per- notes when the
formances at local schools, nursing homes, hospitals and churches. respective plates or
It was a major accomplishment for the band to The band also has been featured on the children's music CD Bon Appetit! by areas were struck.
local duo Cathy Fink and Marcy Marxer, which won the 2003 Grammy for Best The 13 different
work with a Grammy award-winning producer Children's Album. Pan Masters has produced four recordings, the latest in 2005 instruments of
the pan family are
(On De Road), and celebrated its 20th anniversary in 2005 with a concert featur- made today by
F ounded in 1999, this 12-piece band, based

in the Washington area, comprises musicians
from North, Central, and South America, as well
tracks that were recorded at Jampr Studios in
Puerto Rico and produced by three-time Gram-
my winning producer Freddie Méndez, who has
ing world-renowned pan performer, composer, and arranger Robert Greenidge. A modern methods.
DVD of this concert is the latest addition to the band's releases.
Over the years, through Peter Dunning and the Bluemont Concert Series,
as the Caribbean. This eclectic combination of worked with great merengue artists such as El- Pan Masters has brought Caribbean culture to areas of Virginia such as Win- Above: Steel drum
musicians enables Pablo Antonio y La Firma to vis Crespo, Grupo Manía and Tonny Tún Tún, chester, Warrenton, Leesburg, Culpepper, Luray, Lansdowne and Reston. The marked to show
where notes are
infuse and incorporate individual flavor and style
among others. It was a major accomplishment Orchestra has played also at Caribbean Summer in the Park, Hispanic Festival, struck.
into its repertoire, while allowing all nationalities
for the band to work with a Grammy award- Potomac Riverfest, City of Fairfax Parks and Recreation, Montgomery County
to enjoy its music. winning producer! Ethnic Festival, Smithsonian Institute, the Cherry Blossom Parade, Musikfest
In 2000, Pablo Antonio y La Firma released The group has performed in important fes- in Bethlehem, PA, the Institute of Musical Traditions concert series, and the
their first independently-produced compact tivals such as Calle Ocho in Miami, and other Folklore Society of Greater Washington.
disc, currently available on the Internet, at se-events throughout the Washington area and Pan Masters has expanded its community programming with an annual "Pan
lect stores, and via live performances. Their other parts of the country. One of its biggest Jamboree" which brings together steelbands in the area in an open atmosphere
latest production, Mi Princesa, includes two achievements has been to stay together as a similar to the open air pan performances held in the Caribbean. Pan Masters
Contact:
band for nearly a decade. also hosts an annual Junior Pan Solo Competition to encourage young pan-
Pablo Antonio, Director
Brenda Liz Cintrón, General Manager Performing for various charitable or- nists throughout the area to strive for excellence. Additionally, Pan Masters
703-587-3776 ganizations and events is important to the has increased its involvement in the DC Carib- 301-864-2610
brenda@lafirma.com band, as well as giving something back bean Carnival by organizing and hosting the an- panmasters@hotmail.com
www.lafirma.com to the community. nual DC Calypso Monarch Competition. www.panmasters.com
Patrick Alban
y Noche Latina
Raymi
Traditional instruments such as
Acoustic rock, salsa, zampoñas, mosceños, quenas and tarkas are used
Cuban, blues in context with the classic band instrumentation
F or two succesive years, 1999 and 2000, Pat-
rick Alban and Noche Latina were nominated
by WAMA (Washington Area Music Association)
for Best Latin Band and Best Latin Vocalist. They
also performed live at the 2000 WAMA awards
ceremony, which was covered by the Washington
Post as well as Public Television.
On April 12, 2000, Patrick and his band per-
formed at the Kennedy Center. The group has
released four CDs and one video. Its latest is
Ojos Verdes.
For details about the band and Patrick as
well as their show dates, check out www.gabi-
records.com.
photo: BERNALDO BALD

Contact: Patrick Alban, Karen Perc
410-241-0392
palban@gabirecords.com
www.myspace.com/patrickalban
F ounded in 2004, the band is based in Washington, D.C. Its music brings the
haunting sounds and mystic power from the Andes to the rest of the Americas
and the world. Raymi uses traditional instruments such as zampoñas, mosceños,
Above: Raymi
explores the
possibilities that
BY 1997 THERE WERE the bass, guitars,
at least 44 recordings by quenas and tarkas in context with the classic band instrumentation, exploring the keyboards and trap
local musicians, according possibilities that the bass, guitars, keyboards and trap drums can have together drums can have
to research presented by with the Andean tradition. together with the
the now-defunct Centro de Andean tradition.
Raymi, which means feast or celebration in the Quechua language,
Arte de Washington. The
titles included Cantor de is a new musical language for many, a place from which contemporary
Oficio (Camboy Estévez y universal music can be seen through to a dimension of unity and under-
Primitivo Santos), El Huerto standing.
(Rumisonko), Ritmo y Raymi’s passion for its roots is reflected in its music; its love for tradition
Melodía (Tulio Arias), Going
Home and Cipote (Izalco), El and knowledge can be heard in its sound. Raymi's commitment to the people
Abandonado (José Reyes), of the world is the seed that will grow and will be harvested by future gen-
Canciones inolvidables (Zuly erations so that the new world can enjoy the Contact: Juan A. Cayrampoma, Manager
de Venezuela), Ritmo y Sabor fruits of Raymi’s focus on human creation. 703- 593-7587
(Zeniza), Ucachita (Julio Sosa),
y Estás en mi (Lesly Daily).
Raymi’s members are Gustavo Vargas, contact@raymimusic.com
Alejandro Lucini and Juan A. Cayrampoma. www.raymimusic.com

Rudy González y Rumba Club

Su Lokura Band The band continues to forge its own synthesis
of jazz and instrumental Latin dance music
The band’s members, from Cuba, Colombia, described as "a style of their own making”
Musical Tips
Peru and El Salvador, play salsa T his 18-year-old East Coast ensemble "has
joined the pantheon of great Latin jazz groups,"
After performing together and sharing the
stage with Latin greats like Tito Puente, the
and tropical music says the 52nd Street Review. Veteran members
have performed, recorded, and toured extensively
group caught the attention of Andy González,
considered one of Latin jazz's greatest bassists.
The use of violins

F ounded in 2006. Well known
for its versatility, “Rudy
González y Su Lokura” has been
with jazz and Latin greats
of the past and future:
Lionel Hampton, Mon-
Andy has produced and
is a featured guest on
each of their recordings.
in Cuban music
in charangas and playing every Friday night for the guito Santamaria, Manny Mamacita, its second
in genres such last two years at Guarapo in Ar- Oquendo, Miles Davis' CD, was a breakthrough
as danzón and lington, Va. sideman Gary Thomas, success, receiving gener-
cha-cha most likely The band has had the privilege Avishai Cohen's Inter- ous amounts of airplay
dates back to the
arrival in eastern
of performing at the Kennedy national Vamp Band and on jazz and Latin sta-
Cuba of French Center, Washington Convention Lonnie Plaxico, to name a tions around the country.
settlers escaping Center, Essex House (New York few. Each of their four recordings on the prestigious In one month in 1998, Mamacita made Top Ten
from the revolution City), Wolf Trap, local festi- Palmetto record label was produced by Latin jazz lu- on radio stations in L.A., San Francisco, Puerto
in nearby Haiti. vals, and private parties. “Rudy minary Andy González of Fort Apache Band fame. Rico and Miami simultaneously, according to
Many of the most
popular rhythms
González y su Lokura” was Their latest release, Radio Mundo, played to raves polls in Latin Beat magazine. Public Radio In-
of Cuba —son, named by the Kennedy Center from Downbeat, Jazz Times, Washington Post, Latin ternational honored the group by selecting Ma-
bolero, conga, trova, the 2007-2008 “Best Latin Revelation Band”. The band’s members come from Beat, and the L.A. press. The CD received extensive macita as one of the ten best recordings of 1997.
danza—originated Cuba, Colombia, Peru and El Salvador. The band just recorded its new promo airplay and awards from some of the most widely- Their third release, Espiritista, was chosen by
in the eastern end video and is currently working on its “Live” album. Born in El Salvador, Rudy listened-to jazz and Latin radio stations from coast to WBGO in New York City as one of the ten best
of the island and
traveled west to the
González and his family moved to the U.S. in 1984. Here he picked up the saxo- coast, like WBGO in New York and KLON in Los Latin records of 1999. Their latest 2001 release,
capital, Havana. phone when he was 14 years old. After graduating from D.C.'s Duke Ellington Angeles. Radio Mundo, has received outstanding critical
School of the Arts he won a full scholarship to the prestigious Oberlin Conserva- This legendary nine-piece ensemble features acclaim and was recently selected as one of last
tory of Music, where he majored in Jazz Studies (saxophone). members who live and perform in New York year's ten best CDs by JAZZIZ Magazine.
Preceding pages: Currently, González is the Music Department Chair Person at Thurgood Mar- City, Washington and Baltimore. They have The band continues to forge its own synthe-
Dancers perform shall Academy in Washington, where he resides. González has studied jazz saxo- performed all over the U.S. in the West, includ- sis of jazz and instrumental Latin dance music
punta at La Ceiba,
Honduras, during
phone with Jack Wilkins, Donald Walden, Joe Henderson, Yuseff Lattif, Andrew ing a week's stint at the Jazz Bakery in L.A., described as "a style of their own making."
Afro-Honduran White, and David S. Yarborough, and classical saxophone with Paul Cohen. He and Midwest, and continue to frequent jazz Meanwhile, they continue to make what Latin
Heritage Month. has also studied composition and arranging with Wendell Logan, Alfredo Mojica and dance clubs around the eastern seaboard Beat magazine has called "the finest dancing
Sr., Jimmy Owens, Calvin Jones, and J.J Johnson. He has performed with Tito including the Blue Note in Manhattan and Bird- and listening music possible."
Puente, Celia Cruz, Ozomatli, Jon Secada, Winton Marsalis, Jimmy Owens, land, "the jazz corner of the world." This sum-
Ricky Loza, “Free Spirit”, and Billy Taylor, and has received numerous awards mer they will appear at jazz festivals including
Contact: as a jazz composer and performer. the San Jose Jazz Fest in California and Lake Contact: Michael Cherigo
Rudy González, Artistic Director
202-309-1218 Currently Rudy continues perform- George Jazz weekend in upstate New York. The 410-243-7530
rudygonzalez1234@hotmail.com ing and teaching in the D.C area as band made its international debut last summer mcherigotalent@webtv.net
www.myspace.com/rudygonzalezysulokura a freelance musician. at the Ottawa International Jazz Festival. www.rumbaclub.com
La Familia Univision-Telefutura
Saoco
The group is the perfect alternative to a larger band
G rupo Saoco was founded in 2007 with sal-
sa as its specialty. With eight expert musi-
cians, the group is the perfect alternative to a
able for private events.
Manager Luis Noboa also manages the
Melao and MelazaJazz groups.
larger band for experiencing the great sound of
Contact: Luis Noboa, Manager
salsa. Currently the group performs at the Ha-
240-462-8820
bana Village Club in Washington, and is avail-
Sin Miedo
“A truly international group that makes the Afro-
Cuban rhythms of Salsa and Mambo jump into
your bloodstream and move your hips around”
T he band’s name
means “fearless” in
Spanish. Its the name
of one of the best salsa
bands in Washington.
Led by French pianist
Didier Prossaird, the
name sums up the band
leader's attitude toward music “(Washington
Post, Oct.12, 2001–EricBrace).
“Sin Miedo is a truly international group
that makes the Afro-Cuban rhythms of salsa
and mambo jump into your bloodstream and
move your hips around” (Washington Flyer,
Oct. 2002).
The repertoire includes the classic salsa hits
from the 70s to today as well as cha-cha, bolero,
and original music with a French twist. Because Contact: Didier Prossaird, Director
of its versatility, the band can switch from dance 301-483-3307
music to listening music with a large repertoire didier_p@msn.com
www.sinmiedo.us
Entravision Communications / 101 Constitution Avenue, NW, Suite L-100 - Washington, DC 20001 / (202) 522-8640 of Latin jazz.
Son Quatro
The band plays the classic salsa sounds from the
70s and includes covers from Tito Puente,
Musical Tips
Ray Barreto, Rubén Blades, Fania, etc.
A Latin band from
Richmond, Va., Son
Quatro has been perform-
Puerto Rico,
Venezuela,
ing for corporate events, Colombia, and
private parties, and clubs Cuba all use an
since 2001. Son Quatro instrument called
has the experience nec- cuatro. Except for
Sol y Rumba Band

the instrument
essary to make your shared by Venezuela
event a huge success. and Colombia, they
The band consists of are all different. The
seven to eight members Puerto Rican version
Its wide-ranging repertoire includes from Colombia, Puerto has five courses of
double strings.
Rico, Peru, Mexico, and
soft ballads such as boleros as well as USA, including Kevin Ortiz (timbales), Mario Duque (piano), Jhon Acevedo
(bass), Pedro Zamora (conga), Oscar Bravo (bongo), Benjamin Arrendondo
Musical Tips
cha-cha-chá, salsa and merengue. (güiro and güira), Scott Frock (trumpet), and Rob Qualich (trumpet).
Son Quatro plays the classic salsa sounds from the 70s and includes covers
from Tito Puente, Ray Barreto, Rubén Blades, Fania, Ismael Rivera, Cheo Feli-
At the center of the

merengue are the
T he band has been playing in the Washington area for over 15 years in
school assemblies, gatherings, weddings, festivals, and other settings.
Its wide-ranging repertoire includes soft ballads such as boleros as well
ciano, El Gran Combo, Pete “El Conde” Rodríguez, and
also more modern artists like Fruko y Sus Tesos, Buena
Vista Social Club, and Afro Cuban All Stars.
Contact: Jhon Acevedo, Director
804-938-0518
www.sonquatro.com
tambora, the two- as cha-cha-chá, salsa and merengue. Lead singer and Director María Isolina
Our City
headed drum played has traveled for promotion purposes to the Festival of La Tonada in Tunayan,
with one bare hand
and a striker in the
Argentina, La Paz, Bolivia, Mexico City, Mexico, and her own native coun-
other hand, and the try, Honduras.
güira, a cylindrical Isolina is a songwriter with two albums on the market along with two
metal scraper with music videos from her original songs Oro y Arcilla and Significado de Mujer.
a handle. Their The Washington Post has called Maria Isolina a “talented singer, composer,
rhythmic patterns
make the merengue
and songwriter…her strong clear voice is filled with fire and passion.”
immediately She has opened for singers John Secada and Cachao. She has also al-
identifiable. The ternated with Celia Cruz and has sung with other famous singers and groups
saxophone and such as Leo Dan, Barry Manilow, La Sonora Dinamita and Willy Chirino.
the accordion also
became with time Contact: Daniel Amaguana
typical instruments 301- 990-9677 Right: Tourists
for merengue solyrumba@hotmail.com sightseeing in
ensembles. www.solyrumbaband.com downtown Washington.
The Latin Sound Band Tropikiimba

The band’s goal is to be a “one stop shop” The band’s specialty is Afro-Latino
Musical Tips
when it comes to Latin entertainment music guaranteed to get people on
their feet and dancing
There is no
L ed by Kris (Pupi) Díaz
and based in Wash-
ington, D.C., the band W hat is the music of the Caribbean Islands?
There's much more to it than what most
difference in
how Colombians consists of well-known people perceive. Each style is distinctly differ-
and Venezuelans performers who represent ent and more exciting than the next.
play and dance the new musical culture Tropikiimba's specialty is Afro-Latino mu-
the joropo, a developed in the capital sic, which is guaranteed to get people on their
musical genre of the
of the United States. Latin feet and dancing; For example: salsa, timba,
plains shared by the
two countries. The Sound mixes the flavors songo, bolero, danzón, cha cha chá, charanga,
wide plains in some and roots of Latin music rumba, bachata, merengue and vallenato. The
ways are their own with American soul to cre- band can also play other Afro-Caribbean styles
country, irrespective ate a unique sound with (calypso, soca) if needed for special events.
of national borders.
musicians from Puerto Tropikiimba is one of few authentic Caribbean
Rico, Colombia, Peru, orchestras in the Washington area. Band mem-
the United States, France, bers are from countries such as Cuba, Puerto
202-465-4371
Haiti, and Cuba, featuring Rico, Venezuela, Panama, Colombia, Mexico, info@tropikiimba.com
a variety of hard-core salsa, Dominican Republic, St. Thomas and the Unit- www.tropikiimba.com
reggaetón, bachata, Latin ed States.
jazz, merengue, cumbia,
U.S. music, boleros and
R&B Latino. Our City
Since its founding by
Jessica Díaz in 2006, Latin
Sound Band has performed
at events and venues all over the U.S. and abroad. Recently returning from a
tour in Puerto Rico, they are now performing locally in the Washington area.
The band’s goal is to be a “one stop shop” when it comes to Latin enter-
tainment, by providing not only talent in different styles of music but also all
event-support services.
Jessica has directed videos for different artists in New York and around the
world. Some of her music videos have aired on BET and Video City New York.
Her work has won “Video of the Year” awards in Korea.
Kris Díaz started working in music at the age of 14. He is also an event
promoter in the area. Kris believes that Latin music is not limited to Latinos
and has integrated talents
Contact: Kris “Pupi” Díaz, Director from different countries Right: A partial view of
703-731-0475 an exhibition area at
www.thelatinsoulband.com and different ethnic back- National Geographic
grounds. in D.C.
photo: BARRY WHEELER 72 Bands and Orchestras Back Latino Cultural Guide Latino Cultural Guide Next Bands and Orchestras 73
photo: MEDIA644
Un Mundo
The group plays mainly classic salsa from
the 60s, 70s and 80s and Afro-Puerto Rican plena and bomba
Vanessa Díaz y La Tremenda
The dynamism and originality of its members
U n Mundo is a 12-piece salsa band from
Fredericksburg, Va. The group plays main-
ly classic salsa from the 60s, 70s and 80s and
with many improvised descargas—jams—that
burn right through the dance floor. Past venues
include the University of Maryland Multicul- in playing a variety of rhythms make their
Afro-Puerto Rican plena and bomba. This style
is also known as Salsa Dura or Nuyorican Salsa.
tural Fair, Latino Festival of Fredericksburg,
Fredericksburg Country Club, and, as headlin-
music undeniably full of life
It celebrates the golden era in salsa from both
Spanish Harlem (El Barrio) and Puerto Rico,
with a repertoire of music by artists such as Ed-
ers, the monthly Salsa Night at the Loft Club.
Contact: Johnny Valencia, Manager

T he group was founded in 2007 in Virginia. A native of Peru, Vanessa Above: Vanessa
Díaz united with now-director Polín Alfaro, also from that country. Af- Díaz y La Tremenda.
ter working together for some time they found that their passion for salsa Their music includes
646-594-3139 the Cuban timba
die Palmieri, El Gran Combo, Héctor Lavoe, and Latin rhythms could not be denied, and worked very hard to make the sound, Puerto Rican
unmundo_salsa@yahoo.com
Grupo Niche and more. band what it is today. Their music includes the Cuban timba sound, Puerto rhythms, and of
myspace.com/unmundosalsa
Un Mundo has several original tunes along Rican rhythms, and of course the Peruvian flavor. course the Peruvian
Vanessa's family, of a pronounced musical vocation, had a decisive in- flavor.
fluence in her choosing a career as a singer. Vanessa y La Tremenda made
their first public debut in 2007, on a Latin radio station within the D.C.
Panamanian Rubén Blades is known worldwide as a salsa singer metropolitan area. Since then, the group has been a great hit! The dyna-
and composer of songs with acerbic social content, but he also
leads a Latin jazz orchestra, holds law degrees from the University
mism and originality of its members in playing a variety of rhythms make
of Panama and Harvard School of Law, and collected 18 per cent their music undeniably full of life. Recently they have become renowned
of the vote when he ran for president in 1994. In 2004 he became for their tune Esa Noche, composed by Contact: Polín Alfaro, Manager
minister of tourism. Vanessa. 703-344-3275
info@vanessadiazylatremenda.com
www.vanessadiazylatremenda.com
Fiesta DC’s Fiesta DC’s Musical Tips
Zafra
It selects as its repertoire the best
Venezuela,
Colombia , Ecuador,
and Perú each can
be divided roughly
into three parts: the
Pacific or Atlantic
of a variety of genres, offering coastal areas, the
Andean region,
The Best Live Music or mountainous

backbone of the
continent, and the
Amazonian rain
forest to the east
of the Andes. This
geography shaped
the character of
the people and of
their music. Afro-
descendants and
African traditions
became more
concentrated along
Villa-Lobos Brothers
the hot coastal areas
where the ports
of entry for the
slaves were located.
Ancient indigenous
The brothers now boast a number of special civilizations made

their home in the
appearances under their belts, including a cold, dry, windy

Andean highlands,
once-in-a-lifetime showdown at the Latin Grammys

while the peoples
of Amazonia lived in
T he best parties always happen at the beach.

And when these three brothers hit the stage,
lifetime showdown at the Latin Grammys, and
a champagne smash for the 60th Anniversary of
F ounded in Bolivia in 1983, Zafra now celebrates its 25th anniversary.
The original members stayed together for nine years, but subsequent-
ly there have been substitutions as its musicians are recruited into other
hot humid lowlands
with the unceasing
sounds of the
rain forest in the
you will swear there's sand under your feet. Tall, the United Nations. groups due to their quality and experience. The band, which by now has background.
dark and have-some, the Villa-Lobos deliver a Invitations to play and record with elusive produced a number of gold records, made the Washington area a perma-
consistently sunny breed of music. legends and superstars followed, from such nent home in 2000.
Shredding all over New York for years now, icons as Eddie Palmieri, Dan Zanes, Amadou et Early in its trajectory the band was contracted to play in Germany, leading
and frequent visitors to D.C., with performaces Miriam, Morley, Itaal Shur, Simply Red, Jorma to a tour of five European countries where the members met numerous Eu-
in several Fiesta DC events, their mainstream Kaukonen and Pierre Boulez. This year they ropean artists and became familiar with the music business in that continent.
appeal has helped them secure shows at bigger- recorded a CD with Dolly Parton. While on tour, Zafra was hired by a large Swedish company to play twice
than-life shrines like Carnegie Hall and Shea Having just wrapped up their second studio col- daily aboard its cruise ships, where the entertainment included names such
Stadium, while also establishing a network of laboration with The Shul Band, and on the heels of as Phil Collins and the Back Street Boys. Zafra took the place of the band
smaller venues like Joe's Pub, Queens Theater a New York Times whatchamacallit, the Villa-Lo- then completing its tour, Pink Floyd.
in the Park and the Orensanz Foundation. bos brothers are on the road again, this time with Zafra has a permanent stage at a local club, playing twice a week. It se-
Once a pack of violin-toting beachbums long time friend Sammy Zabaleta on the drums. lects as its repertoire the best of a variety of genres, offering The Best Live
wreaking havoc in their native Veracruz, the Music. Contact: Fernando Alfaro, Director
brothers now boast a number of special appear- Contact: Ernesto Villa-Lobos, Director It plays for any type of occasion, and also offers 703-685-0073
917-679-8231 nanoalfaro@gmail.com
ances under their belts, including a once-in-a- sound engineering services and a recording studio.
Zeniza All Star

They have opened for the most renowned salsa
artists, such as El Gran Combo de Puerto Rico,
Celia Cruz, Oscar D'León
E nrique Araujo, director and founder of the

Zeniza All Star Orchestra, was born in the
town of Chincha, Department of Ica, in Peru.
renowned salsa artists, such as El Gran Com-
bo de Puerto Rico, Celia Cruz, Oscar D'León,
Grupo Niche, Guayacán, Ismael Miranda, Jerry
As a child he moved to Lima, where he was Rivera, Gilberto Santa Rosa, Víctor Manuel, Joe
nourished by a rich current of music, and from Arroyo, Tito Nieves, Roberto Torres, and La
a very young age he began playing the congas Sonora Carruseles. In 2003, Zeniza was invited
and the bass. Having finished his schooling he to play at Calle 8 in Miami, with sonera Laura
invited a group of friends to start their own mu- Mao as vocalist, establishing the group as one
sical group. Enthusiastically, they all accepted. of the best salsa bands in Washington.
In 1978, Zeniza began to record such hits as Its most recent recording, which includes
Una Nueva Vida and Shanna, and, in 1992, Con salsa tunes like Chachaguere y Banbarakatunga,
los ojos del alma. Zeniza then traveled to Ven- was made with musicians who currently play
ezuela and found equal success, working next to with Zeniza All Star.
artists such as Celia Cruz, La Dimensión Latina, Enrique Araujo believes that it is important
La Inmensa, La Salsa Mayor, and many others. to record with the original musicians, ensuring
Zeniza arrived in Washington in 1993. At the same musical quality in subsequent live per-
an appearance with Oscar D'León, the King of formances. photo: ALFONSO AGUILAR
Salsa said after listening to Zeniza, "It's been a
long time since I've enjoyed an orchestra with Contact: Enrique Araujo
301-213-6952, 301-801-4366
such a feel-good rhythm," agreeing to become www.zeniza.com
the orchestra's godfather.
In Washington they have opened for the most Right: Cartwheeling in Dupont Circle, Washington.
78 Bands and Orchestras Back Latino Cultural Guide Latino Cultural Guide Next Special Genres 79
Special
Genres
These genres are defined by a particular combination of
music, dance, instrumentation, and even costuming. For
them, specialization rather than variety is the standard.
Flamenco, for example, is performed only by
flamenco groups. It uses special costumes and limited
instrumentation, and in modern times has been fairly
standardized in the range of styles it uses.
Mariachi, similarly, has costumes and instrumentation
used only by mariachi groups. A mariachi may play
sones or boleros or romantic ballads or waltzes,
www.washingtonhispanic.com but it will always sound and look like a
mariachi.
A marimba group is built around a
El periódico en español más influyente particular instrument, large enough that
it can be played by more than one
en el área metropolitana de Washington. performer at once. Like flamenco
and mariachi, a marimba group
sounds and looks like a marimba
Todos los viernes en más de 2,500 group no matter what style of
lugares en Washington, Maryland y Virginia. music it is playing. The same is true
of norteñas, samba, and tango.
Sirviendo a cerca de 200,000 familias. Rock bands follow no particular
standard or tradition, but are included
in this section for convenience.
202-667-8881 Area residents can learn to dance
flamenco and tango with local instructors,
Fax: 202-667-8902
some of whom are listed in this section.
2701 Ontario Rd., NW, Washington DC, 20009.

80 Bands and Orchestras Back Latino Cultural Guide Latino Cultural Guide Next Special Genres 81
Arte Flamenco
Flamenco F lamenco is an art that explodes outward cap-
turing the imagination of the spectator with its
fire and fury. Highly emotional and intense, it is
above all the art of the individual.
T he musical influences of Spain in America (the

continent) are many and varied. In the Wash-
ington area, the most visible variant is that of
Arte Flamenco is based on the concept that
each performer has a unique quality to contrib-
ute to the ensemble. All of the artists, be they
flamenco, the passionate music of the south of dancers, guitarists or singers, are highly experi-
Spain, which transparently shows the Moorish enced professionals, and are encouraged to en-
legacy of that area. gage in the creative process as both soloists and
The end of the 15th Century was accom- participants in ensemble pieces.
panied by major events in the former Roman Natalia Monteleón created Arte Flamenco while
province of Hispania, which had increasingly residing in New Orleans. The group achieved wide
absorbed, and come to be dominated by, the success, and was invited to return three years in a
Visigoths. The last Moorish bastion fell, the row to the world-famous New Orleans Jazz and
nation of Spain began to be unified around the Heritage Festival. Under a grant from the Consul-
kingdom of Castile, the intense nationalism of the ate of Spain the company was able to arrange for
times was accompanied by the Inquisition, with its the first presentation of authentic cante flamenco
expulsion of the Muslims and Jews, and the Spanish ever given at the Jazz Festival, bringing Manolo
photo: TONY BROWN

sailing expedition to China landed instead on a conti- Leiva as guest singer.
nent previously unknown to Western European mari- Relocating to Maryland, Ms. Monteleon re-
ners. The Gypsies (Rom, or Roma), a nomadic peo- created the company within the Washington
ple who had traveled to Europe from India and area. Their first major concert, in February of
were marginalized from mainstream Spanish 1998, was a sold-out performance at Howard
society, did not share in the Hispanic-Cath- University’s Smith Theater. Performances are
olic fever of the times, and took up the mix given annually for the Federation of Hispanic
of Moorish, Hispanic, Jewish, and Gypsy Organizations' summer festival in Baltimore,
music that became flamenco, adding their the Kennedy Center, Millennium Stage, Balti-
own intensity to the genre. more Artscape, the Columbia Arts Festival, the
Flamenco can be performed as simply Takoma Park Folk Festival, James Rouse The-
as with one voice, or with the addition ater, the University of Maryland, the Mexican
of hand claps, castanets, or one or more Cultural Institute, and other local venues.
guitars; or, more recently, the Peruvian Because Flamenco is an art form rooted in
cajón, a wooden box played like a drum a native culture, the company strives to present
while held between the legs of a seated shows which both educate as well as entertain
photo: FERRUCA
performer. the audience. Great care is taken to retain au-
Flamenco is also the name of the dance thenticity and to use the highest caliber of tal-
that the music accompanies. ent, culled from local dancers, musicians and
singers, as well as occasional invited interna- Contact: Natalia Monteleón, Director
tional guests. The company, which uses live 301-617-0694
musical accompaniment exclusively, is known natalia@arteflamenco.us
www.arteflamenco.us
for its impassioned performances.
82 Special Genres Back Latino Cultural Guide Latino Cultural Guide Next Special Genres 83
Duende Camarón
venues of the Smithsonian, Carter Barron, and
Furia Flamenca
Its choreographies have been selected for numerous
Constitution Hall. Their flamenco is influenced
by rumba artists like the Gypsy Kings and also
by Latin American music.
shows including Joy of Motion’s Dance Project
The name has a very important meaning
to the flamenco world: "duende" is a especial
phenomenon in which a flamenco musician can
B ringing the ferocity and passion of flamen-
co to the stage, Furia Flamenca is unique in
that it combines flamenco's gypsy heritage with
give the best of his or her art with much passion, modern flamenco choreography to create an el-
while Camarón (“shrimp”) was the nickname of egant balance of motion and energy, making its
José Monje Cruz, one of the most important fla- performances absolutely enthralling and totally
T he duo was founded by the brothers Cesar

and José Oretea (Bolivia) in 1998. In 2000
they moved to the U.S. and since then they have
menco singers of contemporary times, who died
in 1992.
entertaining.
Founded by director Estela Vélez in 2003,
Furia Flamenca has taken the best elements
Contact: César Oretea
performed in different clubs and events in the 703-868-0919 of its dancers’ backgrounds (flamenco, ballet,
Washington area and recorded two CDs. duendecamaron@hotmail.com Middle Eastern, modern, and tap to name a few)
Duende Camarón has performed in several www.oreteamusic.com and melded them into a sumptuous feast for the
eyes, ears, and heart with their range of expres-
sion and ability to entice the audience.
In January 2005 the company became a Resident
Arts Partner with the Joy of Motion Dance Center.
The list of the
major and minor
Furia Flamenca has performed in venues
languages of Spain throughout the area including the Kennedy Cen-
is long. Castilian, ter's Millennium Stage, Jack Guidone Theatre,
also called Carter Barron Theater, Mexican Cultural Insti-
Spanish, is the tute, and Ernst Community Cultural Center as
principal language,
which everyone
well as numerous festivals including Dance D.C.
must know and Festival and Adams Morgan Day festival. In ad-
has a right to dition, it has appeared on television programs
use anywhere such as Noticias Univisión and the Fox Morn-
in the country. ing Show. Its choreographies have been selected
Other major
languages are
for numerous shows including Joy of Motion's
Galician (galego), Dance Project and Dance Bethesda in 2007.
closely related to
Portuguese; and
Catalan, spoken in
Catalonia and also
eastern Aragon
photo: MELISSA
and the Balearic
Islands, and its
variant, Valencian,
spoken in the Valencian Community. Basque (euskera), in use since before the Roman conquest, is still
used in the Basque Country and Navarre. Aranese, with roots in the Middle Ages, is found in north- Contact: Estela Vélez, Artistic Director
western Catalonia, in the Pyrenees. Among minor languages, Aragonese (from Occitan), Astur-Leonese, 703-568-4404
Extremaduran and Fala enjoy some recognition butare not official languages. estela@furia-flamenca.com
www.furia-flamenca.com
photo: ARCADIA CREATIVE

Musical Tips
Musical Tips
Flamenco is only
one of a variety of
traditional Spanish
Requiebros Suspiro Andaluz The maracas from
dances, some with
Vibrant and authentic costumes help to the plains of the
Accompanied by a live guitarist,

roots dating to the Colombia-Venezuela
15th Century. They
survive, despite create a cheerful blend of energy and border are smaller
Suspiro Andaluz performs traditional

and lighter in sound
changes in tastes and
despite the repression excitement that make a performance by than those seen
in the U.S. They
of regional differences
under the dictatorship
the Requiebros a musical pleasure subgenres of flamenco are played very
differently, too, and a
of Francisco Franco. musician used to the
Among the better-
T
other maracas has
known dances are the he Requiebros Spanish Dance Group typifies the elegance and grace that to learn them like a
paso doble (the music distinguishes flamenco from other styles of dance. Under the tutelage new instrument. The
heard at bull fights), of choreographer and director Carmen de Vicente, the group showcases the right hand plays an
the fandango, and upbeat in counter to
the bolero (which is
classical “Escuela Bolera” style of the 18th Century, as well as contempo-
F
the down beat on
not like the Caribbean rary genres that include flamenco, rumbas, tanguillos, sevillanas and tradi- ounded in 2007, Suspiro Andaluz has been featured at the Annual Span-
the left hand. They
bolero that took its tional folk dances from various regions of Spain. ish Festival at the Strathmore Center for Performing Arts, as well as local are played very fast
name). Vibrant and authentic costumes help to create a cheerful blend of energy and venues throughout the greater D.C. area. and moved straight
excitement that make a performance by the Requiebros a musical pleasure. Accompanied by a live guitarist, Suspiro Andaluz performs traditional sub- up and down, rather
The group consists of approximately 20 dancers from beginning to genres of flamenco, including alegrías and tangos, as well as the flamenco-style than being tilted
forward on the beats,
advanced levels. They have held recitals for diverse audiences and per- partner dance
Contact: Maria and made to produce
Contact: Carmen de Vicente, Founder formed in schools, international programs, area 541-515-0630 from Seville swishing sounds by
703-684-1949 festivals, nursing homes, and at private engage- maria@dcflamenco.com called sevil- swirling them around
www.carmendevicente.com ments since 1996. www.dcflamenco.com/photoblog/2007/05 lanas. the axis.
Ziva's Spanish Dance

Ensemble
The blend of traditional Spanish with
modern dance results in a unique
neoclassical choreography
E stablished in 1996, Ziva’s Spanish Dance Ensemble is a resident
company of the Joy of Motion Dance Center. The Ensemble's
dancers have diverse and international backgrounds. Most have
prior experience in dance forms such as ballet, modern, ballroom
and folklórico. The company captivates audiences with Spanish
dances that range from the fiery and seductive flamenco of Andalu-
sia to the spirited jota, folk dances of Aragon.
In 2001, the Ensemble received the First Metro DC Dance Award
for "Outstanding Production in Multicultural/World Dance," for its
March 2001 production of "El Camino del Fuego."
Ziva Cohen is the founder and Artistic Director of Ziva's Span-
ish Dance Ensemble. She heads the Flamenco program at Joy
of Motion in D.C. and currently sits as a panelist on the Mary-
land State Arts Council Dance Advisory Panel. She also teaches
at George Mason University. Cohen has performed extensively
in the Washington area and, at times, in other major U.S. cities
and Israel, where she has been hailed for her artistic and techni-
cal brilliance as a flamenco dancer and choreographer. She blends
traditional Spanish with modern dance, resulting in a unique neo-
classical choreography, and explores the roots of flamenco while
incorporating other dance forms to the Ensemble's performances.
Guest artists have come from a variety of dance and musical fields
such as jazz, modern, tap, Indian, African, and Moorish.
Cohen has studied Spanish dance and flamenco with numerous
teachers in the United States and Spain, including Dame Marina Keet,
Jose Udaeta, Mercedes y Albano and Pacita Thomas. The ensemble
has appeared on the Millennium Stage, and Corcoran Gallery of
Art, Publick Playhouse, Lisner Auditorium and First Night Annapolis. The Washington Performing
Arts Society sponsors Ziva's Spanish Dance Ensemble for lecture demonstrations in schools and
for senior citizens' groups in the Washington metropolitan area.
Right: A distorted
Contact: Ziva Cohen, Artistic Director view of Adams Morgan
www.zivasspanishdanceensemble.org neighborhood. photo: ALFONSO AGUILAR
Mariachi Mariachi Aguila

A guila was formed in 1998 by a group of local
musicians who share a love for the excite-
ment, brilliance and drama of mariachi. Washing-
ton’s premier mariachi is a six-piece ensemble
with current mariachi instrumentation: trum-
pets, guitars, and violins.
Mariachi Aguila has performed at private
events such as Cinco de Mayo celebrations, em-
bassy gatherings, weddings, and similar gath-
erings throughout the Washington metropolitan Contact: Juan Lazo
area. Recently they performed at the Mexican 202-277-0102, 202-210-1947
www.mariachiaguiladc.com
Cultural Institute in the nation’s capital.
Ay Jalisco no te rajes
E. Cortázar
Ay Jalisco, Jalisco, Jalisco

tú tienes tu novia que es Guadalajara;
muchacha bonita, la perla más rara
Mariachi Caraepalo
de todo Jalisco es mi Guadalajara.
Y me gusta escuchar los mariachis,
L imber Suárez founded the Mariachi Car-
aepalo several years ago. He performed
with his father from a young age, and has been
Amor eterno, and many more.
El Mariachi Caraepalo is available for birth-
days, bachelor parties, showers, and weddings
cantar con el alma tus lindas canciones; playing mariachi for over twenty years. in addition to other celebrations. They special-
oír como suenan esos guitarrones Originally from Mexico, mariachi music has ize in entertainment with grace and creative
¡Ay Jalisco no te rajes! y echarme un tequila con los valentones. achieved world-wide popularity. The musicians collaboration. Their professional services are
of Mariachi Caraepalo, in their charro outfits, available only in the D.C. area.
me sale del alma gritar con calor, entertain their guests with their rancheras from
abrir todo el pecho pa' echar este grito: the countryside. They are well trained in both Contact: Limber Suárez
¡Qué lindo es Jalisco, palabra de honor! playing the traditional instruments and singing 703-509-9955
carepalo_jazz@hotmail.com
well-known songs like El rey, Volver, volver,
Pa' mujeres Jalisco es primero,
lo mismo en los Altos que allá en la Cañada;
mujeres muy lindas, que rechulas caras,
así son las hembras en Guadalajara. More than 6 million people in Central America and Mexico
En Jalisco se quiere a la buena,

today speak 69 different Maya languages, thought to be
related to one original language of some 5,000 years ago.
porque es peligroso querer a la mala; Omniglot.com provides sample texts in different Maya
por una morena echar mucha bala languages. Here’s a text in Tseltal:
“Spisil winiketik te ya xbejkájik ta kínalil ay jrerechotik, mayuk
y bajo la luna cantar en Chapala. machá chukul ya xbejka, ya jnatik stojol te jpisiltik ay snopibal
¡Ay Jalisco no te rajes!

sok sbijil joltik, ja´ me kúx ya kaibatik ta jujun tul.”
That’s a translation of Article 1 of the Universal Declaration of
me sale del alma gritar con calor, Human Rights: “All human beings are born free and equal in dignity
abrir todo el pecho pa' echar este grito: and rights. They are endowed with reason and conscience and should
act towards one another in a spirit of brotherhood.”
¡Qué lindo es Jalisco, palabra de honor!
Mariachi El Rey Mariachi Fiesta

Fiesta has been invited to participate
with big stars in Latino music,
among them Vicente Fernández
T he band was born in Virginia
in 2002. Founder César López
began his career as a musician in
Guatemala, playing with the Las
Monarcas group. He played with
several mariachis in the Los Angeles
T his mariachi founded in 2001 has taken its

music to different events like weddings,
birthdays, baby showers, serenades, Sweet 15s
chi el Rey makes the metropolitan Washington
area its home.
area. Eventually, he made his way
to Virginia where he started his own
mariachi.
and many more. With their more than seven Mariachi Fiesta has been invited
years of experience, Mariachi el Rey offers a Contact: Javier Albornoz, Director to participate with big stars in Latino
703-869-8227 and -8232
Mexican touch filled with the traditional maria- mariachi_elrey@yahoo.com
music, among them Vicente Fernán-
chi style. Like a Mexican ambassador, Maria- dez, Marco Antonio Solís, María Elena Contact: César López, Director
Beltrán. They have performed at the mariachi_fiestadc@hotmail.com
Mariachi Estrellas
www.myspace.com/mariachifiesta
White House, embassies and festivals.
The group's members weave musical harmonies and

rhythms as colorful as the sarapes for which Mexico is famous
Mariachi Las Américas
Has performed the best Mexican music around
E strellas performs the most exciting and en-
chanting music the world has come to iden-
tify with Mexico: mariachi. The ensemble has
tradition of mariachi bands, they perform re-
quests on demand.
As masters of their instruments, they expert-
the Washington area for over 25 years
established itself as one of the most outstanding
performance groups based in the nation’s capital,
performing to audiences that have included dip-
ly combine the contrasting sounds of the violin,
the sharp brassiness of the trumpets, the deep
voice of the guitarrón and the high-pitched
B ased in the nation's capital, Mariachi Las
Américas has performed the best Mexican
music around the Washington metropolitan area
lomats and governmental dignitaries, television voice of the vihuela with a result that is the heart for over 25 years.
personalities, professional athletes and lovers of and soul of Mexico. Mariachi Las Américas, with different
folkloric music. Whether at a midnight serenade under a bed- ensembles (duos, trios, quartets and larger),
Wearing the traditional traje de charro, the room window, a wedding, birthday or theme plays for all types of events—presidential
group's members weave musical harmonies and party, the musical entertainment provided by inaugurations, congressmembers' parties,
rhythms as colorful as the sarapes for which Mariachi Estrellas will create an experience to historical events throughout the nation's
Mexico is famous. They showcase the musical remember. capital, serenades, weddings, First Com- Contact: Byron Pérez, Manager
and rhythmic variations that have developed in Contact: Judy Benavides, Manager munions, festivals, parades, birthday or 571-332-5965
the different regions of Mexico from both his- 703-658-0147 theme parties, and school and govern- mariachi_las_americas@yahoo.com
torical and cultural perspectives. And, in the mariachiestrella@hotmail.com ment programs. www.mariachilasamericas.com
Mariachi Los Amigos

Musical Tips
Mariachi Sin Fronteras
They performs a wide repertoire of musical
Mexican mariachis
F ounded in 1979,
Los Amigos is
the Washington ar-
are said to be
named after groups ea’s longest-existing
that entertained at mariachi ensemble.
weddings during As its name implies,
the time of the
it was formed by a
French occupation
of Mexico. The group of friends who
word for marriage shared a passion for
in French is the the lively, extroverted
same as in English, sound of the maria-
and from it came
chi and for the wide
mariachi.
range of music that it
plays. The traditional
mariachi ensemble
emerged in the 1800s
in several western
states of Mexico, in-
cluding Jalisco, Nayarit, Colima, and Michoacán, found at weddings, birthdays,
saint’s day celebrations, rural dances, and other social occasions.
H earing this mariachi band is like taking a mantic serenade the group offers a nice two- or
one-way trip straight to Mexico. With their three-piece band. It also offers larger ensembles
acoustic melodies and authentic Mexican sing- that can give any event the mood of an authentic
The rise of recordings, radio, films, and television in the 20th Century ing, Sin Fronteras is a band you’ll never forget. Mexican Fiesta.
took mariachi music to audiences throughout Mexico, Latin America, and They have performed at festivals,
beyond. During this time, since the 1930s, the mariachi evolved to become a gatherings, school assemblies, pri- Contact: María Isolina, Booking Manager
240-643-9148, 301-990-9677
widely popular musical ensemble with a preferred instrumentation of two or vate parties, weddings, hotels, and
solyrumba@hotmail.com
more violins, two trumpets, vihuela (rhythm guitar), and guitarrón (bass). more. www.solyrumbaband.com/custom3.html
The earliest members of Mariachi Los Amigos came from many nations For a small event such as a ro-
and regions, including Mexico, Bolivia, Puerto Rico, Texas, and California.
While its membership has evolved over the years, its original passion-driven
spirit remains.
Founding members Luis González on vihuela and Daniel Sheehy on trumpet Luis González (left) and Daniel Sheehy performed son jarocho
are from Mexico and California, respectively. Other members are guitarronero and ranchera music playing guitar and harp at the Archdiocese
Mario Castro, Mexico; trumpeter Francisco Soto, Arizona; and violinists Terry of Washington. As a duo, they performed regularly at El
“Toni Luna” Liu, Ohio, Daniel “Danny” Sheehy, Jr. (son of our director) of Falls Tazumal Restaurant in Adams Morgan in the late 80s with the
Church, Virginia, and June Welsch of Fairfax, Virginia. name Dúo Amigos.
With an extra musician, sometimes they formed the Trío Amigos.
Mariachi Los Amigos performs a wide repertoire of musical material, from the Both, founders of Mariachi Los Amigos, appear on the opposite
latest canción ranchera (country song), to romantic boleros, lively polcas, and some page in front of the Capitol. Sheehy and Soto are, from left,
Contact: Francisco Soto, Manager of the oldest of the fourth and fifth.
703-671-5463 hard-driving sones
www.geocities.com/terryliu_99/Mariachi_Los_Amigos.html jaliscienses.
www.mariachilosamigos.com
Tito el Charro Cuscatleco

A charro is a Mexican cowboy. Tito Torres
is a Salvadoran mariachi singer known as
"The Charro of Cuscatlán.” Tito used to sing
and play the guitar in his neighborhood in El
Salvador, and one day the musician Pío Rome-
ro heard him. Romero thought that Tito had a
great deal of talent, and began training him to
sing professionally.
Tito now sings with mariachis in restaurants,
and has performed at the Cinco de Mayo Festi-
val and the Fiesta DC festival in Mt. Pleasant.
With his folkloric music he hopes to remind
the Hispanic community to not lose their roots
and to support their heritage.
photo: JOSE SANCHEZ
Contact: Frank Agbro, Manager

202-415-4512
frankojazz@frankojazz.com
Mexico is a federation of 31 states and the Federal District (D.F., or Mexico City ). The largest state,
Chihuahua, bordering on Texas and New Mexico, is almost half the size of Spain.
photoS: gilberto meza
Marimba Marimba Linda Xelajú

The marimba, originating in Africa and Asia, has ancient predecessors, probably the
earliest pitched instruments. The first marimbas were likely made from wooden bars
laid over a hole in the ground and played with mallets. A stone xylophone found in
Vietnam is the oldest surviving instrument of its type.
The Guatemalan marimba came to America with slaves from southern Africa, where
its relative the hand piano, or marimbula, is common. Some say that the name
comes from the Bantu words for "many keys," ma-rimba. Others point to a Zulu
goddess named Marimba who played an instrument of wooden bars hung over
resonating gourds.
In Cuba, the marimbula took on a larger size, possibly because of the availability of
photo: KENIA LOBO

wooden boxes at the ports. Known in Jamaica as rumba box, that marimbula has
a round sound hole over which are laid three or four metal staves secured at the
bottom end and plucked with the fingers at the top end to produce bass sounds.
The box is aligned horizontally as a rectangle set on its long end, and the player sits
on top of it, as with a cajón.
I n 1995 Robert Girón, Sr. made real his dream
of having a family band named Marimba
Linda Xelajú, whose goal is to extend different
is named. The resonance box of the Marimba
Linda Xelajú is made out of mahogany. The
keys are made of wood from the hormigo tree,
On the Pacific coast of Colombia, Afro-descendant communities play the marimba musical rhythms throughout the country and to so named because it is always filled with ants,
chonta, so named because its keys are made from the wood of the chonta palm. different cultures. The Marimba Linda Xelajú— attracted by the sweetness of the wood. The
the instrument—came from his home town, Quet- frame has beautiful Mayan designs on white
The tuning corresponds to a major scale: chonta marimbas typically do not include zaltenago, to the United States in 1996 to promote wood also called palo blanco.
chromatic keys, like the black keys on a piano. The chonta marimba uses resonating and preserve Guatemalan music. The talent of playing marimba is passed
tubes made from guadua bamboo, a species indigenous to Colombia. Girón was fascinated with the marimba. down from generation to generation. With Ma-
Whatever its origin, the marimba became popu- rimba Linda Xelajú, the talent of this family is
In Zimbabwe, the marimba was chosen as a national instrument in the last century lar all over the world, but nowhere so loved as in passed down from father to daughters and son.
because it had no specific tribal association and could be adopted by all groups Guatemala. Virtually no ceremony or celebra- A large instrument, the marimba is played si-
equally. The development of the Zimbabwean marimba is an example of cross- tion anywhere in the country takes place with- multaneously by different musicians. Their
out it, and in no other place has the instrument roles are named according to function (melody,
fertilization across the Atlantic, as specialists in Zimbabwe based their instrument on reached the pedestal of a national symbol. harmony) or for other instruments (piccolo,
the Guatemalan marimba which derived from southern Africa. The marimba was declared Guatemala’s na- tiple), the range of each of which corresponds
It is in Guatemala where the marimba became the modern instrument known tional instrument in 1978, and to honor it a mon- with that of the section of the marimba being
today. Like the African xylophone, the first Guatemalan marimbas used gourds ument was made in Quetzaltenango. In January played.
1999 the Congress of the Republic declared the Today, Marimba Linda Xelajú is played by
as resonators. The chromatic or double-tiered keyboard was introduced in 1874. marimba a national symbol of Guatemala for its Robert Girón, Sr. (piccolo); Robert Giron Jr. (ti-
Sebastián Hurtado replaced the gourds with wooden cones, of which one end was historic and cultural value and tradition. ple); Beverly Girón, (melody); Jennifer Flores
covered by a membrane. In 1908 the Hurtado family took the marimba on tour to The availability of fine wood in Guatemala (harmony); Mauricio Gutiérrez (electric bass);
facilitated the development of the marimba. Fernando Argueta (percussion).
the U.S., and soon after that U.S. manufacturers started to produce marimbas. Nojobel Salazar, one of the most exclusive ma- Contact: Aura Girón, Manager
Today's marimbas are made in a variety of models, but most use rosewood for the rimba makers in Guatemala’s Western Region, 240-476-8524
keys and brass tubes as resonators. crafted the the instrument for which the band www.marimbaxelaju.com
Mi Pequeña Norteñas
Internacional “Norteña,” meaning “of the north,” is music from
Mexico’s northern states. Classic norteña bands
They are not limited to the traditional Guatemalan may be small, even just a duo or trio, playing 12-string
guitar, accordion, and snare drum, but modern versions
folk music, but also include international rhythms use additional instruments.
The dress has a flashy-cowboy look; hats are standard.
T he Marimba Pequeña Internacional was
formed in 2005 by the Sarceño family.
The group has performed in different multi-
The names of the bands frequently include the phrase
“del Norte,” as in Tornados del Norte. The sound is
cultural events and festivals in the Washington often similar to that of the polka, but with a country
area, including the Takoma Park Festival and feel and in Spanish.
the D.C. Folk Festival. In addition, Marimba
Pequeña Internacional has appeared at the Norteñas are known for corridos, narratives on
embassy of Israel and other consulates and themes that range from the Mexican Revolution
embassies. to stories of tough men and, not surprisingly,
This group has a selective and diverse rep-
ertoire. They are not limited to the traditional
the hazards of emigrating to the U.S. They
Guatemalan folk music, but also include in- also play newer rhythms such as the much-
ternational rhythms like cumbias, merengues, faster quebradita—as energetic as salsa
danzones, corridos, boleros and others. or a fast merengue—and the pasito
Marimba Pequeña Internacional is com-
posed of the following members: Cecilia Sar- Contact: Fernando Sarceño, Director
duranguense (named for the state
ceño, Sherri Sarceño, Jose Sarceño, Pablo 240-205-0954 of Durango), also a faster music,
Sarceño, Adán Soto, and Vinicio. marimbaint@yahoo.com
which can incorporate Texan
cumbia, cha-cha, mambo, rock,
and other styles.
The Tawantinsuyo was the empire of the Quechuas, Quebradita groups are called
named from the words tawa (four) and suyo (nation,
state). Divided into four territories centered around
bandas. Duranguense, a
present-day Cuzco in Peru, it stretched down the favorite in the U.S. and
Pacific Coast north to present-day Colombia and
south through Ecuador to Chile, incorporating particularly in Chicago,
to the west what are now Bolivia and part of expands the instrumentation to
Argentina, reaching the edge of the Amazon area.
The Tawantinsuyo came to an end during a bitter brass and woodwinds.
battle for succession between bothers Huascar
and Atahualpa that coincided with the arrival of the
Spanish. The histories of Ecuador and Peru diverge
from that time forward.
Corazón Norteño
They love to entertain their public
Tornados del Norte
and they love to play norteña music B orn in 2004 in Chilapa, state of Guerrero,
Tornados del Norte has played in restaurants
and clubs in Washington, D.C., Richmond, and
T he band was founded in 2004 by the Ramír-

ez brothers: Marcelo, José Guadalupe, and
Eliseo. Despite the band's name, none of the
vocalist. They won first place at the Tocando por
un sueño (Playing for a Dream) contest, a two-
month competition among 14 groups. Corazón
other cities in North Carolina, Delaware, and
Virginia. They now reside in Maryland.
members are from northern Mexico. Instead Norteño has shared the stage with Ninel Conde, Contact: Leonel Hernández, Director
they are from different countries like El Salva- and they love to entertain their public. The band 301-404-6584
dor, Guatemala and Mexico, but they love play- currently has a CD called Con todo el corazón
ing norteña music. Corazón Norteño has played (El charco).
Triunfadores del 4
in Mexico Lindo restaurant and in the Cinco de
Mayo Festival in Baltimore.
The band is composed of five members: José
Guadalupe, bass; Santos Elmer Contact: Marcelo Ramírez
Villalta, accordion; Manfredo Lu- 571-291-3547
cero, electric bass; Eliceo Ramír-
ez, drums; and Marcelo Ramírez,
corazonnorteno@live.com
www.myspace.com/Corazon_norteno2008 F ounded in
Michoacán,
México, Triun-
fadores del 4
has played in
Roberto y sus Traviesos

Georgia, Cali-
fornia, Indiana,
Delaware, Idaho,
and Kansas. In
They have shared the stage with bands like Banda the region they
have performed
Limón, Lolo Duarte, and Banda Z at several latino
festivals and local
T he band Roberto y sus Traviesos (“the mis-

chievous ones”) was founded in 2007 by
Roberto Rodríguez, who has six years of expe-
Two are from Guatemala, one from Mexico,
and one from the U.S.
Roberto y sus Traviesos won second place in
restaurants and
night clubs with
a special Mexi-
rience in music. The band was so named be- a radio contest in Manassas. They have shared can identity. They have shared the stage with mando Reyes and José A. Arévalo; drums, Pas-
cause Roberto is the oldest member of the band the stage with bands like Banda Limón, Lolo El Recodo and Los Tigres del Norte, two of tor Reyes; percussion, Miguel A. Reyes, José
and the rest of the members are rebels. Duarte, and Banda Z. The band brings excellent the best-known bands internationally in this Arévalo and Roberto Caballero; accordion,
Playing quebradita and duranguense, they music to the public, and is currently working on kind of norteña music. The band has recorded trombone and keyboard, Jorge A. Reyes; trom-
have appeared in the Cinco de Mayo Festival recording a CD. two CDs: Nadie nos va a separar and Corazón bone, Juan Manuel Arévalo, Marisa Cortéz;
in Baltimore and at Mexico Lindo Restaurant. de papel. keyboard, Roberto Vitela, and tuba played by
The band is made up of Roberto Rodríguez, vo- The band is composed of 14 members, and Gabriel Orosco.
calist and bass; Sergio Palencia, bass; Ramón each of them plays an instrument that gives fla-
Muñoz, accordion, tuba, and saxophone; Al- vor to the band. Electric bass, Epigmen- Contact: Jorge A. Reyes, Manager
berto Rodríguez, keyboard and drums; Manolo io; guitar, trombone and second voice, 703-675-3041
Contact: Roberto Rodríguez, Manager
Palencia, drums; and Emerson on percussion. 937-618-9540 Noé Reyes; trumpets, Diego Reyes, Ar- los_triunfadoresdel4@hotmail.com
Rock
The cultural influence of the U.S. on Latin America is pervasive. Disney,
Hollywood, TV shows, styles and fads, all percolate south. It’s
hardly surprising then, even if not generally known in the U.S,
that rock and roll is firmly established south of the border,
including in Cuba. Rock musicians everywhere are
known in Spanish as rockeros.
Latin rock can be closely derivative of U.S. and
also European rock, down to the look and
stage action of the bands, but it may also
incorporate domestic themes, instruments,
and genres, as well as reggae, ska, West
African, and other genres that were born
outside of the U.S. and Europe. Aside from
local and “world music” versions, the range of
Latin rock is as broad as that which is played
elsewhere: R&B, pop, heavy metal, punk, techno,
and so on—even emo.
The bands in this directory are representative of
the current directions of Latin rock. Some of the
Washington-area band members began playing in their
home countries and later emigrated here.
All of the rock bands listed here exist in myspace.com, but
only one has a separate Web site. Contact information for the
bands may be available at their respective myspace.com sites;
registration in myspace is required to enter. You may also find
further information at www.Latinorockfest.com.
Rigth: Singer-songwriter
Daniel Gómez Botta
AkerOn Botta
Melodic richness, lyric content and
mature song structure make Musical Tips
Pedazos de mí en el tape Botta’s best album yet
S inger-songwriter Daniel Gómez Botta, originally from Venezuela, grew
up listening to his father’s record collection of songwriters such as Pablo Mexican rock
Milanés, Joan Manuel Serrat, and Silvio Rodríguez. Fascinated by their developed in parallel
melody and eloquence, Botta wrote his first song when only eight years to Chicano rock in the
old. Later, Botta was influenced by the sounds of Seattle’s grunge (Alice U.S. The first Chicano
in Chains, Pearl Jam, Soundgarden, Nirvana) and the Latin rock of Soda rock star was Richie
Valens, or Richard
Stereo, as well as British pop-rock bands such as The Cure. Steven Valenzuela,
In the mid-90s Botta was the front man for La Matriz del Sistema (even- who was born in Los
tually Papas Underground), playing the D.C./Va./Md. circuit and sharing Angeles and achieved
the stage with many local and international acts. fame with the hit La
After releasing two records with La Matriz, Botta`s academic goals took Bamba, an adaptation
of a son jarocho
him to the prestigious North Carolina School of the Arts, where he pursued from Veracruz. His
and obtained a degree in Sound Design and Engineering. During this pe- stardom lasted only
riod he released two independent records, Humano (1998) and Resurrection eight months, ending
T he band is formed by five guys who have

something in common: Music! AkerOn
originates with two friends getting together:
relocate to the Washington area, where they met
Alan (guitar) and Alex (bass), who had taken
part in a project named Inverted Trifixion.
(2000). In 2002, Botta formed Pocket Hero, a “Spanglish” British pop- with the plane crash
rock/emo band, and actively played the local scene. Botta, a compulsive that killed him and
fellow rockers Buddy
songwriter, also put out two reflective and introspective EPs, Apartamento Holly and J.P. "The Big
Henry (drums) and Joelvin (guitar), who in the The best way to describe AkerOn is this: Music (2004) and Teetering on the Brink (2005). Bopper" Richardson in
past had been members of a few rock bands in "different countries, different influences create In 2006 Botta came back to the D.C. area and joined forces with old 1959. He was 17 years
Guatemala. Shortly thereafter, they got together AkerOn." friend and drummer Seth Elias, a former member of Controversia, later old.
with singer Victor, with whom they had per- joining with local talent bassist Tim Maccabe, forming a power trio. Their
formed. After a few practices they decided to www.myspace.com/akeronheavyrock2 independent album, Pedazos de mí en el tape (2007), is a mixture of Latin
pop rock and trova with hints of contemporary songwriters like Ryan Ad-
Our City
ams. Melodic richness, lyric content and mature
song structure make Pedazos de mi en el tape bottamusic@gmail.com
Botta’s best album yet. www.bottamusic.com
Left: Georgetown
University
(towers, left),
Freddy Fender, author of country music hits in the U.S. such as “When the Next Teardrop
Key Bridge, and
Falls” was born Baldemar Huerta, a name not likely to advance his career on the Texas
Georgetown
photo: MAURICIO BENAVIDES
side of the border.

as seen from
Vicky Carr faced a more difficult situation: she was born Florencia Bisenta de Casillas
Roslyn, Virginia
Martínez Cardona. When she met president Gerald Ford she asked him “What Mexican
on a clear
summer day. dish do you like?” and he answered “I like you.” In his autobiography, Ford noted that the
First lady was not pleased.
Filtro
Filtro is now a familiar name in
Musical Tips the Latin rock scene of the Washington area
The Latin American

countries with tbe
largest and best-
known production
of rock music
are Mexico and
Argentina. Rock
Kaótica
is also a force in
South American
countries such as
Chile, Colombia, and
Venezuela, which
are more influenced
by European rock
than is Mexico.
Among the bands
T he word Kaótica derives from chaos–the
confused, unorganized condition or mass
of matter before the creation of distinct and or-
that have built
derly forms.
followings within
the U.S. are the Although chaos is usually associated with
Mexican Maná and negative circumstances, Kaótika proves this rock bands in the D.C. area. One of their most
Café Tacuba, and,
earlier, the Argentine
Soda Estereo, now
T his band from Springfield started out in a very peculiar way in 2003, jam-
ming on Andean rock music. After months of rehearsals and a change
of line-up that took them in a different musical direction, the band began to
conception to be wrong. “We have to remem-
ber that there is chaos in every aspect of this
world, in every human life…it’s part of our
important performances so far has been opening
for Vilma Palma at the State Theater in Virginia.
"We feel very fortunate to have taken our first
dissolved.
experiment with their musical backgrounds and influences, which were a existence”, says Aracelly, “but it is from this step with such a huge opportunity that not many
mix of hard rock, metal and grunge, and that led to the birth of Filtro. It's a same chaos that high passions are born. Our beginner bands have, we see it as an encourage-
sound of heavy and hard guitars with metal, punk and hard-rock rythms led passion is music and this is the message we ment to work harder and give only our best.”
by strong lyrics that speak about social issues and personal experiences. want to send.” With many aspirations for the future, Kaóti-
Filtro has had a few changes on bass, but now Julio, Javier, Luis and Ed All five of them, four born and raised in Bo- ka’s dream is to create music that inspires mul-
keep writing original material that is influenced by the different musical livia and one in Peru, met in the U.S. United by titudes to identify themselves with their songs.
backgrounds of each member, ranging from Led Zeppelin, Black Sabbath, the same dream, they decided to form a Latin Each song grasps a moment of their past, present
G n' R and Nirvana to R.A.T.M., Audioslave, Chevelle, Korn, Molotov, Soda rock band in 2006. Since that day they have and future. “Every one of us is a very important
Stereo, Metallica and more. devoted themselves to finding their unique mu- element to what Kaótika is at this moment, and
Filtro is now a familiar name in the Latin rock scene of the Washington sical sound...and, with much success, they have we never want this to change. What we want is
area, having performed in many venues of Virginia, Maryland and D.C., and found it! for people to interpret chaos (Kaótika) the way
is also part of the annual DC Latin Rock Festival. Every one of their presentations carries that we do, as a positive element of our lives and
Filtro is classified by their fans as having a "loud, strong, and unique" one element of originality that has character- better yet, learn from it just as we do through
sound. ized them from the beginning. Today, Kaótika is our music”.
www.myspace.com/filtrorock recognized as one of the most successful Latin www.myspace.com/kaotikamusic
March of Us Sin Kontrol

The band combines various styles, from pop, rock,
T he group brightly blends the heart-beat
sounds of the streets with chords that loudly
yell plenty of rock & roll and punk in an al-
proudly carries different musical backgrounds
that season the band's distinctive sound, from
Latin jazz to Brazilian beats to an unrepentant and gypsy to ska, defining the band's own style
ternative format that doesn’t apologize for cele-
brating tribal sounds that make everybody jump
loud hard rock that believes in poly-linguistic
lyrics as the perfect means to reach out to more and sound with their original songs
their heads off.
Formed at the dawn of 2006 in Alexandria,
Va., March of Us consists of Alexis Magdaleno
people.
Ever since the band was created, March of
Us has been playing regularly in the D.C. area,
T he band started a year ago with many ideas
and much sacrifice with the goal of estab-
lishing a place in the music industry at an inter-
(drums), Gustavo Cruz (bass/vocals), and Al- in places such as Grog and Tankard, Café Ta- national level. It combines various styles, from
fredo Galtarossa (guitar/vocals). The members cuba, The Red and the Black, and many more. pop, rock, and gypsy to ska, defining the band's
all come from Venezuela, where they belonged March of Us has performed with bands such as own style and sound with their original songs,
to popular rock bands like La Comuna, Leviti- Amor Suicida, Reynolds, Stone Gato, Kaotika, which have been a hit so far–songs like ¿Dónde
co, and Abstracto. Being exposed to African- and others. estás?, Vete ya, Esperaré por tí, No te quise las-
Caribbean sounds as well as to European and timar, Oye mi reina, and more.
North and South American sounds, this trio www.myspace.com/kaotikamusic Their first studio effort is being recorded,
with much inspiration and dedication.
Reynolds
www.myspace.com/sinkontrolados
Reynolds plans to take the tour to

Miami, New Jersey, and New York
Stone Gato
In Spanish or in English, Stone Gato's masterful
W ith music in the blood and with the hope of
some day signing a contract, Bart, Harold
and Elvis each has been part of various musical rock, but one can find in the CD a variety of oth-
musicianship, energy, and charisma
groups, year after year, beginning in their coun- er rythmns too, from rock to punta that comes get audiences moving to their infectious beat
try of origin, Bolivia.
In 2003 they got together for the first time to
make music, bringing in their younger brother,
close to rock, Latin pop, ballads, and R&B.
The CD, Cantaré con esta voz, went on sale at
Música Latina in Arlington, Va. in 2006, lead-
A fter a three-year stint with regional power-
house the Lloyd Dobler Effect (Aezra Re-
cords/Virgin Records), Rod and Javi Godínez left
Roy, who was then starting to play on his own. ing to their live presentations in the "Del todo the band to pursue a different outlook on music.
The four brothers called themselves Reynolds, bien" tour. Blending rhythms from Latin America and Africa
the family's last name. Reynolds plans to take the tour to Miami, with elements of rock and funk, they've created in-
In 2004 and 2005, produced by XHR Music New Jersey, and New York, and, later, having fectious beats, tender melodies, and down-to-earth
Productions and JGM Studios, of San Carlos, signed with Ramhaus Records, continue on to lyrics that captivate any audience. Whether singing
Fla., they began work on their first recorded countries in Central and South America, includ- in Spanish or in English, Stone Gato's masterful
material, with songs written by the band mem- ing Colombia, Argentina, Bolivia, Honduras musicianship, energy, and charisma get audiences
bers. The CD includes songs like Wpa, Del todo and Mexico. They also plan to finish producing moving to their infectious beat.
bien, and Sin tu amor, which the audience sings their videoclips and to record their second CD. With a growing fan list of over 5,000 and
in chorus during performances. The music of with all their accomplishments, Stone Gato is
Reynolds is classified as Spanish-language pop www.myspace.com/reynoldsmusic sure to be a favorite. www.myspace.com/stonegato
The Sessions
W ith members hailing from Argentina, Guate-
mala, Bolivia and El Salvador, the groovin’
fusion is inevitable. Their original style contains
elements of ska, reggae, rock and various Latin
rhythms with lyrics in both English and Spanish.
The Sessions has been pounding the pave-
ment for the last year in the Washington area,
playing at popular latin rock venues and events,
always attracting a crowd and gaining new fol-
lowers due to their energetic live performances
and extremely dancable tunes. Jose Ekonomo’s
versatile guitar skills, combined with Ricardo
Varrenti’s infectious bass lines and a fantastic
rhythm section that incorporates bottom-heavy
drums and Latin/Caribbean percussion make up
the Sessions “sound”.
www.myspace.com/sessionsdc
Versus
Versus filters influences from early pioneers of
"rock en español" to modern hard rock
T he new Washington area's own Versus has a
sound as eclectic as the area itself. With a music
style that could find a home as easily with The Foo
Fighters as with Smashing Pumpkins, Versus filters
influences from early pioneers of "rock en español" to
modern hard rock—punk through their own unique
vision and perspective. In doing this they achieve a
sound distictly their own, a sound that people from all
walks of life all over D.C. are discovering. From the
harder edge of their rock songs to the rolling melodies
of their more traditional music, the sound of Versus is
one that warrants attention.
www.myspace.com/versusdc
Left: Lilo González rocks out at the 2006 Latino Festival.

photo: JOSE SANCHEZ
Clube do Samba
Samba Created through the mixing of African
and European music and dance, Musical
todayTipsone
Brazil borders on most of the countries of South America. The
main language spoken there is Portuguese, not Spanish, but that of the most popular forms of music in Brazil
does not keep Brazilian music from being a major influence
in the region. As far north as Mexico, visitors to public
The claves are two
squares known for strolling musicians, like Garibaldi Plaza wooden cylinders
in Mexico City and the main plaza of Veracruz, will find held lightly in the
hands and struck
batucadas performing alongside the mariachis and together to set and
norteñas. keep the beat. They
must be made from
Among Brazilian genres, samba, the queen of carnival, hardwood in order
to produce a clear,
stands out. And how could it not? It represents hot- piercing, sound.
weather fun, costumes, and collective dancing in the In colonial times,
ship builders used
streets. hardwood staves,
Samba groups in Rio de Janeiro, known as scolas rather than metal
fasteners, to hold
(schools), practice and prepare all year for the a ship's timbers
competition held during carnival, but samba fever is together. Havana,
a major port for
hardly limited to that city, or, indeed, to Brazil. Spanish commerce,
In the Washington area, samba is performed by was full of such
staves that served
Brazilians and admirers of the genre who live here and as clavos (nails). The
claves were born
who, even in winter, reproduce the irresistible experience when musicians
born in Brazil from African and European roots. working on the
docks discovered
C lube do Samba brings old- and new-school samba music to the Wash-
ington area since late 2007. The band's members are all friends with
a common passion for samba, having played informally at parties and jam
the usefulness of the
wooden cylinders for
keeping a beat.
sessions until joining together to bring performances to music venues in and

around Washington.
Created through the mixing of African and European music and dance,
samba is today one of the most popular forms of music in Brazil and is wide- Above: Kevin, Fabio,
Max, Babajan.
ly recognized as Brazil's national musical style. Clube do Samba features au-
thentic Brazilian acoustic instruments, including the pandeiro (tambourine),
cavaco or cavaquinho (4-string guitar similar Contact: Kevin or Fabio
to the ukulele), violao sete cordas (7-stringed 917-586-0382
guitar), tantan (bass drum), and other Brazilian kevin@clubedosambadc.com
percussion elements. www.clubedosambadc.com
DC Passistas
The group represents Brazilian culture but brings
together individuals of various ethnic backgrounds
Sambart Entertainment
F ormed in 2006 under the direction of Sao
Paulo native ZeZeh, a talented and well-
D.C. Group members reflect the Center’s holistic
message of wellness and freedom of movement.
F ounded in 1992, Sambart Entertainment
emphasizes the cultural traditions of Brazil
through colorful, elegant costumes, traditional
ate exotic dancers dressed in authentic Carnaval
costume give an elegant taste of the cultural fla-
vor that is Brazil.
known samba dancer, the DC Passistas are made Incorporating this message, the group represents Brazilian food, percussion music, and exotic Sambart Entertainment’s sambistas (samba
up of a diverse group of talented sambistas that Brazilian culture but brings together individuals high-spirited dance. Since its inception, Sam- dancers) have performed their folkloric dances
bring together a unique “Brazilian heat” in the of various ethnic backgrounds, such as Caribbean bart has been dedicated to promoting Brazil- locally and nationally at numerous theaters and
greater metropolitan area. and South American, which allows the group to ian culture and Carnaval throughout the United auditoriums, such as the Marcus Theater on
Specializing in samba, Afro-Brazilian, and axe, embody this revolutionary dance. States and the world. Broadway, NY, the Kennedy Center, and Wolf
DC Passistas ground their dancing in balance and D.C. Passistas have enjoyed performing in Sambart Entertainment was founded under Trap; military bases such as Fort McNair and
happiness. Through shake, shimmy, and personal multiple venues throughout the Metropolitan the artistic leadership and direction of world- Fort Meyer; festivals; carnivals; parades; embas-
flair, each dancer brings individual moves to ex- D.C. area that include Brazilian parties, various renowned dancer and choreographer Sonia sies; restaurants; hotels; and private functions.
press freedom through the dance of Samba. cultural events, and festivals. Pessoa. Her personally-choreographed samba 301-335-6474
DC Passistas have made their home in the studio jcgamble@gmail.com shows bring a flamboyant Carnaval atmosphere sonia@sambart.com
of the Mamasita Cultural Center, located in Takoma, www.gomamasita.com to any manner of event, large or small. Passion- www.sambart.com
El día que me quieras
Tango
Enrique Santos Discepolo
Acaricia mi ensueño
el suave murmullo de tu suspirar,
¡cómo ríe la vida
si tus ojos negros me quieren mirar!
Y si es mío el amparo Tango was born at the end of the 19th Century and the
de tu risa leve que es como un cantar, beginning of the 20th, when Buenos Aires was growing
ella aquieta mi herida,
¡todo, todo se olvida...! rapidly due to the influx of European immigrants—mostly
Italian and mostly men—and of workers of all kinds from the
El día que me quieras
la rosa que engalana countryside, including free Africans. As immigrants to Washington
se vestirá de fiesta do today, they sought solace and entertainment in small and
con su mejor color affordable clubs, or wherever a few musicians could improvise a
Al viento las campanas
dirán que ya eres mía diversion. The mix of ethnicities and cultures produced a new sound
y locas las fontanas that was accompanied by a new dance.
me contarán tu amor.
La noche que me quieras Neither the music nor the lyrics nor the dance, nor the places where
desde el azul del cielo, tango first was played and danced, enjoyed a good reputation
las estrellas celosas
nos mirarán pasar at the time. Still, it was becoming too good to miss. The upper
y un rayo misterioso classes discovered it, and it made its way to Paris, where it became
hará nido en tu pelo, a sensation. It returned to Buenos Aires with the imprimatur of the
luciérnaga curiosa
que verá...¡que eres mi consuelo...! City of Light, triumphant in its home country.
Tango spread to New York and other capitals. Movie studios
Recitado:
El día que me quieras produced musicals and stars, in particular Carlos Gardel, who is still
no habrá más que armonías, mourned in Latin America after his death in an airplane accident
será clara la aurora in 1935. The tango survived Gardel’s death and the censorship
y alegre el manantial.
Traerá quieta la brisa of a military government, reached a peak in the 40s and 50s,
rumor de melodías and then declined, in competition with newer styles of
y nos darán las fuentes
su canto de cristal. music. Later, in the 70s, it was revived again, this time as
El día que me quieras an experimental fusion with jazz and rock and chamber
endulzará sus cuerdas
el pájaro cantor, music, best known today through the work of Astor
florecerá la vida, Piazzola, who lived while young in New York, became
no existirá el dolor... fascinated by the electronic-sounding musique concrète
La noche que me quieras of the 1960s—a kind of early sampling of sounds made
desde el azul del cielo, possible by the tape recorder—and considered pursuing a
las estrellas celosas
nos mirarán pasar career in serious rock before taking his friends’ good advice to
y un rayo misterioso play what he knew best.
hará nido en tu pelo,
luciérnaga curiosa The new tango shocked the traditionalists but gave new life to the
que verá...¡que eres mi consuelo! music. It lives on, paired with its rural-born relative, the milonga, as an
photo: PONTITANGO
expression of sophisticated big-city night life.
Carina Rosario Losano

Students come to enjoy
Claudia Gargiulo
the sensations that have She has sung with the McLean Symphony Orchestra
made tango a seductive art and the Pan American Symphony Orchestra,
Musical Tips
and in Italy and Argentina
L osano's skill as a dancer and teacher has
been acknowledged with numerous awards
and accolades, including the "Golden Obelisk", A rgentine-born
singer, actress, and
The unique sound
"Teacher of Milonguero", "Young Generation teacher Claudia Gargi-
of xylophones and
of Milongueros", and "Dedication to Tango", ulo is a mezzo-soprano marimbas, floating
which was awarded by Juan Carlos Copes. She performer known for the and ethereal,
also was awarded First Prize in the "Champi- clarity of her voice. is the result of
onship Hugo del Carril" in 1997, and for three She has previ- the overtones
emitted, heard in
consecutive years represented "Solo Tango TV" ously sung and acted
combination with
in the International Exposition of the Cable In- in South America and the fundamental
dustry. Carina performs regularly in the U.S. at Europe, performing in tones of the keys.
locations such as the Argentine Embassy, the festivals and theatres
Organization of American States, and the Ken- in Verona, Viareggio,
nedy Center for the Performing Arts, and she Bari, and Milan, Italy,
was one of the featured performers at the His- and Buenos Aires. In
panic Inaugural Gala for President George W. 2004 she won the first
Bush in 2001. prize as best singer
Her unique combination of technical skills as at the “International
Michael G. Stewart
a dancer and interpersonal skills as an instructor Tango Competition” in

have led international cruise lines, such as Radis- New York.
son Seven Seas Cruises and MSC Cruises, to en- She has sung with
gage Carina as a guest instructor on cruises to sev- the McLean Sympho-
eral continents and numerous countries, including relaxed, comfortable, enjoyable, and accessible to ny Orchestra, The Pan
Argentina, Brazil, Croatia, Greece, Italy, Mexico, everyone. Her natural ability and her training with American Symphony
Puerto Rico, Turkey, U.K. and Uruguay. some of the greatest masters from Argentina give Orchestra and several local groups. She has collaborated with Gala Hispanic
Carina is an accomplished choreographer as her a unique capacity to instill in her students a Theatre in Washington as both a singer and actress, and she now promotes
well as performer and instructor, and her credits deep feeling for the subtle nuances of tango. She Argentine tango and contemporary Latin American music in North America.
include teaching Madonna tango technique for emphasizes contact and communication between She currently
her role in Evita and co-choreographing the Pepsi dancers so that they move together in rhythm and resides in the
commercial starring Shakira that was aired nation- harmony. Under her guidance, students realize a Wa s h i n g t o n
ally throughout the U.S. during the 2003 Academy new feeling for music and movement, and they area, where
Awards. She also co-choreographed a commercial come to enjoy the sensations that have made tango she sings and
for HSBC Bank to launch a new marketing cam- a seductive art for generations. teaches voice.
paign in 2005 and the National Geographic Special Contact: Carina Rosario Losano
on the Human Body and Reproduction in 2006. 240-601-6106 Contact: Claudia Gargiulo
As an instructor, Carina teaches a style of tango caritango@yahoo.com tangoreo@gmail.com
that is elegant and dynamic, while at the same time www.caritango.net www.myspace.com/claudiagargiulo
Pontitango QuinTango
His curriculum includes many performances at A unique chamber ensemble dedicated to the musical performance of tango, QuinTango is in-
pired by the Argentine orquesta típica—the classic tango orchestra of violins, bandoneons,
embassies and diplomatic venues in Washington bass and piano. QuinTango brings its own interpretations to this evocative music, universally syn-
onymous with the eternal dance of man and woman. QuinTango's first compact disc was released
in November 1998.
I n 2004 Ponti Del Mercado met director/pro- Diana Montero participated in the movie The Tan-
ducer Francis Xavier and participated in his go Dancer, directed by Francis Xavier, showing at
TV commercial for Gardel's Super Club, shown the Charles Theatre in Baltimore.
QuinTango's recent performances include appearances at the White House, John F. Kennedy Center
for the Performing Arts, Embassy of Argentina, Martin Luther King, Jr. Library, Prince George's Com-
munity College, Mexican Cultural Institute, Phillips Collection, Corcoran Museum, George Meany Cen-
on Fox TV. In early 2005, again as a tango danc- As a performer he has participated in numer- ter, U.S. Department
er, he opened the second "Night Cry" series ous festivals, among them the annual Argentine of State, Smithsonian
with his dance Festival of Tango Institution, and lo-
partner and long- in Virginia. He cal cable television,
time friend Zuli helped to raise as well as Borders
Russi. In June founds for groups Books and Music.
of the same year like the Hispanic Q u i n Ta n g o ' s
they both traveled Scholarship Fund unique arrangements
to Buenos Aires of Maryland. present tango in its
and performed His curricu- many guises: El Cho-
in La Boca at the lum includes clo and La Cumpar-
world-famous performances at sita, two of the earli-
Caminito. various embas- est tangos to enter the
In 1999 he sies and diplo- permanent interna-
performed at Wolf matic venues in tional repertoire; the
Trap, for the an- Washington, such tango songs of char-
nual fund-raising, as the Russian ismatic singer Carlos
which had Argen- House, the em- Gardel (Mi Buenos
tina as its main bassies of Argen- Aires querido, Por
theme. The same tina, Uruguay and una cabeza); from the
year he hosted Finland, and arts Golden Age, the classic tangos A media luz and Adiós muchachos; the virtuoistic milonga Taquito mili-
a tango show in and performance tar and equally energetic tango Canaro en París; and Julio Sanders's Luna de arrabal, a tango waltz of
Washington, D.C. venues. melancholic charm.
at CocoLoco Restaurant, "Tango with Ponti and In late 2002 Ponti decided to withdraw tem- The Nuevo Tango of Astor Piazzolla is represented by Libertango, Oblivion, Soledad, and Río Sena.
Friends", a tribute to his mother. The following porarily from the stage to pay tribute to a dear The poetic tango compositions of Uruguayan composer and bandoneonist Alejandro Muzio, several of
year, he brought his art to Miss Latina USA 2000. friend who died suddenly, leaving many in which were composed especially for QuinTango, are contemporary highlights of the group's programs.
In 2002 he launched his first CD, Estrellita del Sur, mourning. Ponti has since returned and is leav- The boleros, No No No No and Entre Sombras, represent the lush romanticism and irresistible dance
a compilation of Argentine tangos and Peruvian ing his footprints everywhere he dances… rhythms of the Latin music craze which followed tango's rise to international stardom.
valses produced and recorded in Lima, Peru. The magic of QuinTango's anecdote-laced performances has turned local music-lovers into tango lovers,
In April 2006 he performed with Zuli Russi and tango lovers into QuinTango lovers. When QuinTango takes the stage, the lights dim...the pulse quickens...
in the gala event "Dancing with the tango begins. Discography includes: QuinTango
Contact: Ponti Del Mercado Contact: Joan Singer
the Stars" at The Garrett-Jacobs 703-866-5459
Live! (¡en vivo!) (2005); To Buenos Aires with Love, 703-548-6811, 571-241-7683
Mansion in Baltimore. In June, pontitango@yahoo.com QuinTango (2003); QuinTango—Secret Places joan@quintango.com
Gino Cazalle and Zuli Russi as www.geocities.com/pontitango/pontitango.html (2000); QuinTango (1998). www.quintango.com
Sharna Fabiano Tango Reo

Recognized around
the globe for her elegant,
A s a group of friends with a passion for tango
music, Tango Reo started in 2006. Vocal-
ist Claudia Gargiulo, Argentina, is a professional
Contact: Claudia Gargiulo
tangoreo@gmail.com
tangoreo.googlepages.com
musician with the right tango feel. Violinist Kris-
and powerful dancing tin Snyder, U.S., is a music teacher, certified in the
" Sharna is one of the rare non-Argentines to

have understood the tango instinctively at a
deep level. This, plus her far-reaching knowl-
Suzuki method. Pianist Victor Medina, U.S./Ven-
ezuela, is a Peabody-trained musician.
edge and skill with both the follower's and lead-

er's roles, has made her a uniquely special tango
dancer, on the dance floor, in performance and
Tiempo
in her teaching" –Jef Anderson, Classical Pia-
nist.
Sharna Fabiano has over twenty years of
de Tango
dance experience, the last decade of which has
been devoted to the cultural study of Argentine C onstantino Bastidas and Susan Reynolds,
founders of Tiempo de
photo: tanit sakakini
PHOTO: Ludovic Jolivet

tango. She has been educated in several tradi- Tango, are known through-
tional social dance styles by some of the greatest out the Washington met-
names in the modern Tango Renaissance, and is ropolitan area for the style
regarded as an innovator who has remained con- and passion of their Argen-
nected to the tango's roots while exploring its ev- characterized by a clear, articulate knowledge of tine tango. Their choreogra-
er-changing modern aesthetics and vocabulary. body movement, and by a great depth of under- phy and performance in the 1997 Library
Sharna is recognized around the globe for her el- standing of tango improvisation. of Congress presentation “The Golden Age
egant, powerful dancing and for her expertise in In 2003, Sharna joined the internationally ac- of Tango” marked the beginning of the com-
both leading and following roles. Sharna is also claimed TangoMujer Dance Company, a group pany.
credited with pioneering the use of non-Argen- of all-women tango dancers based in NYC, and in Over the past few years, Tiempo de Tango has col-
tine "neo-tango" music for social tango dancing, 2006 she established Sharna Fabiano Tango Com- laborated with musicians such as Tango Reo, Albo-
and created the website www.neotango.com in pany in Washington. She has performed her work rado, Quintango, Musica Aperta, Siempre Tango,
2003 to share musical ideas. at the prestigious Jacob's Pillow Dance Festival, and both the Fairfax and the Baltimore Sym-
Between 1999 and 2004, Sharna made five and in NYC, San Francisco, Berlin, Dusseldorf, phonies to bring a variety of tango produc-
journeys to Buenos Aires to study and absorb and Hamburg, Germany, as well as in D.C. at such tions to the metropolitan area and beyond.
the deep culture of tango. She also appears on prestigious venues as the Kennedy Center, Lisner In 2001 they were awarded a com-
instructional videos partnering two of today's Auditorium, and Argentine Embassy. Sharna has mission to create Piolín: Tanguero So-
most well-known Argentine dancers, Mariano been interviewed for publications in the Nether- ñador for the John F. Kennedy Center
"Chicho" Frumboli and José Garofalo. lands, Germany, and Czech Republic, and was for the Performing Arts as part of Per-
Based in Washington, she travels frequently named to Dance Magazine's "25 To Watch List" forming Arts for Everyone and the Millennium
as a guest instructor around North America and for 2008. Her written articles on the depth and Stage. Piolín and Desde la Orilla, productions which each drew finalist nominations for Metropoli-
Europe, and visited Cuba twice in 2002 as part mystique of social tango have been widely read tan D.C. Dance Awards, were performed at Dance Place.
of a U.S.-licensed cultural exchange. Among her and translated into several languages. Most recently, Constantino and Susan created and performed a history of tango through dance for
most influential teachers she counts Rebecca Contact: Sharna Fabiano
the Peabody Conservatory in Baltimore, which was also shown at the Music Center at Strathmore. They
Shulman, Daniel Trenner, Brigitta Winkler, Pab- 202-277-4073 also choreographed and performed a new version of Contact: Susan Reynolds
lo Veron, Chicho Frumboli, Gustavo Naveira, sharnafabiano@gmail.com “The Golden Age of Tango” for the concert series of 703-486-1299
and Pedro “Tete” Rusconi. Her own teaching is www.sharnafabiano.com the College of Notre Dame of Maryland. tiempodetango@mac.com
124 Solos and Duos Back Latino Cultural Guide Latino Cultural Guide Next Solos and Duos 125
Soloists, Duos, Trios

The idea of soloists may conjure up the image of academically-
trained singers of opera and of chamber music. In the case of one
of our soloists, that image is precisely right, although she does just as
well with boleros and salsa.
The guitarists listed in this section have trained in academies and
with renowned music teachers, and are at home with a symphony
or chamber ensemble, but they also play traditional and folk
music and jazz and see no contradiction in doing so. One
of them is well known in the clubs
of Adams-Morgan; the other is
based in New York but has
become a good friend of
Fiesta DC, having brought
to the Latino Festival in
Mt. Pleasant a group that
plays authentic cumbia
and Colombian folk music,
and then joined in with another
group to play Mexican son jarocho.
Another performer, a piano player and arranger trained in
a conservatory, today is a mainstay in theater productions
involving popular music.
The artists in this section perform Peruvian criollo music
and sing with mariachis, teach and dance salsa and tango,
play jazz percussion, rap, sing romantic songs, teach Latin
American folklore, music, and Trinidadian steel pan, specialize in
Dominican bachata, and do many other things. They may play or
sing with bands or appear on their own.
They are a sampling of the multi-cultural variety of individuals
active in cultural work in the Washington area.
Right: Mexican singer

Angela Miranda
Anamer Castrello Morti in GALA Hispanic Theatre’s production of

An Inopportune Visit by Copi, and won great criti-
cal and popular acclaim.
In addition to her opera appearances, Ms.
for the Levine School of Music at THEARC in
Washington. She also teaches voice privately in
Riverdale, Md. She is often asked to perform as
soloist at weddings and private parties and to sing
Ms. Castrello was an Castrello has presented her shows Soul of Latin
America, Latin American Essence and Sabor y
the National Anthem to open official events.
Reflecting her interest in furthering music as
award-winner at the Gulf vida/Essence and Life, directed by Abel Lopez,
locally at the Smithsonian Museums, The Mexi-
part of education, she is also a founding mem-
ber of Duet Cantaré, a musically-interactive
Coast Regional Auditions can Cultural Institute, the Millennium Stage of the
Kennedy Center and throughout the United States.
performing group dedicated to fostering knowl-
edge of Latin American and Caribbean music in
for the Metropolitan Opera That program, devoted to song classics from
south of the border, is the inspiration of her first
the public schools of the United States. Anamer
is part of a choral sextet of diverse women called
P raised by the Washington Post as “the rich-

est and most expressive voice…Castrello
has enough wattage to light a small town,”
solo CD titled Anamer Castrello, Latin American
Mezzo: Latin American Hits, featuring a mixture
of many Latin American music styles. Also tour-
Venus. And, most recently, she became a Teach-
ing Artist with the Washington National Opera
under the direction of Plácido Domingo in its
mezzo-soprano Anamer Castrello, a native of ing from 2000-2003 with the Washington Ballet, Education and Community Programs. With the
Guaynabo, Puerto Rico, stands out as one of the Anamer was the vocal soloist for the piece Juanita Washington Opera she works directly with the
most impressive and versatile artists and singers and Alicia, choreographed by the artistic director, programs Creating Original Opera, helping
in the Washington area. Septime Webre, with the Latin Jazz ensemble Sin grade school students write and produce their
Ms. Castrello was an award-winner at the Miedo conducted by Didier Prossaird. own operas, and Libraries, offering opera work-
Gulf Coast Regional Auditions for the Metro- Ms. Castrello teaches voice at Northwestern shops for children and their families. Anamer
politan Opera. Other awards include The Wash- High School and Suitland High School in the Castrello is a proud member of the American
ington Area Music Awards (WAMA)–Latino Prince Georges County, Md., public school sys- Guild of Musical Artists (AGMA) and Actors’
Best Female Vocalist–and the 1997 Operatic tem. She is a choir director and voice instructor Equity Association.
Singing Artist of the Year Award from the Insti- ers Opera. She is one of the artists/singers of the
tute of Puerto Rico in New York. She has sung
numerous opera and zarzuela roles as well as
In Series, an innovative company that has been
in Washington for twenty years offering high-
Our City
in cabaret and popular shows abroad and in the quality, affordable productions of opera, cabaret
Washington area. Of her portrayal of Estrelda in and zarzuela, under the artistic and executive di-
Sousa’s El Capitán, Sorab Modi of Opera News rection of Carla Hubner.
wrote: “Ana Castrello was pert and vivacious… Ms. Castrello holds a Bachelor of Arts degree in
her singing always refined, her phrasing ac- Humanities with a concentration in Piano from the
complished with finesse.” Anamer participated University of Puerto Rico, a Master of Arts degree
in the International Opera Festival in Rome, in Music Education for Colleges and Universities
Italy in 1998 playing Marcellina in Mozart’s from New York University and a Master of Music
The Marriage of Figaro. She has appeared with degree in Opera Performance from the University
several opera companies and theaters including of Maryland at College Park.
the Baltimore Opera, Opera Camerata of Wash- As an artist with extremely versatile talents,
ington, Shakespeare Theatre, Opera Americana, Anamer started as a vocalist in the pop world, hav-
Maryland Opera Studio, Crittenden Opera ing collaborated with such artists as Lucía Men-
Workshop, The Other Opera Company, GALA dez, Lucesita Benítez, Chucho Avellanet, Sophy,
Hispanic Theatre, Zarzuela Di Si, and the Sing- and Danny Rivera among others, and recorded du-
Contact: Anamer Castrello
ets with Cheo Feliciano and Marco Antonio
571-214-6603 Muñiz. In 1997 she had Right: A view of
acastrello@hotmail.com her debut in Washington as 18th Street near
www.acastrello.org an actress, playing Regina Columbia Road.
Ángela Miranda Cecilia Villalobos

Her charisma and unique voice have won her plaudits and In 1995, Cecilia qualified for Bronze, Silver,
the recognition and affection of the public Gold and Super Gold certifications as an
K nown as "The Angel of Mexican Songs,"
Angela Miranda, born in Santiago de Queré-
taro, began her artistic career 15 years ago. Since
instructor and choreographer
Dancer, choreographer, instructor, and mother, title of Ms. Peru in the National Latina Beauty Pag-
that time she has performed in theaters, fairs, and Cecilia "Ceci" Villalobos was born and raised in eant in Washington. After her two-year tenure as
palenques in important Mexican cities such as To- Lima, Peru. It was in that coastal city of Lima an instructor for a consortium of dance companies
luca, Guadalajara, Guanajuato, Lázaro Cárdenas, where Ceci pursued her gifted athleticism, excel- in the D.C. area she embarked on her own career
Michoacán, Mexico City, and of course Querétaro. ling in swimming, volleyball, as a director and choreographer.
Miranda has appeared with figures such as gymnastics, and aerobics all at In 1998, Ceci took some of her
Martin Urieta, Gil Rivera, Rosendo Montiel, the national level. most talented students and cre-
Edwin Alvarado, Pony Aguilar, Gerardo Reyes, At the age of sixteen, Ceci ated the group Salsa Fuego.
photo: JOSE SANCHEZ
and Margarito Estrada, among other greats of made a life-changing decision to During the next couple of
Mexican music. leave home and move to Brazil years, she began to teach pri-
One of her most important achievements in to pursue her dream of becoming vately under the auspices of her
the U.S. is to have been selected as a national- a dancer at the Sao Paulo Dance dance partner at the time Jim
level finalist in the Fifth Mariachi Festival. Her Company. For two years, Cecilia Johnson. Her instruction has in-
charisma and unique voice have won her plau- Contact: Ángela Miranda trained full-time over 40 hours a volved more than 1,200 students
dits, the support of the media, and the recogni- 202-290-8559 week, specializing in tango, sam- over the last four years. By re-
www.rumian2002@hotmail.com
tion and affection of the public. ba and cha-cha before she was quest, she also instructed three
awarded one of the lead dance days a week at various dance stu-
positions in a 50-member dance dios, nightclubs and restaurants.
Cantaré
company. During her last three Since 1998, the dance group
years with the company she taught at the Salvador has performed all over the world with overwhelm-
Dance School, participating in the South Ameri- ing success, as well as locally at venues such as the
can tours Tango Passion, Danzando, and Samba Millennium Stage at the Kennedy Center, Balti-
A rtists Patricia Vergara of Brazil and Cecilia

Esquivel of Argentina introduce audienc-
es to the beautiful songs and rhythms of Latin
invited to play per-
cussion instruments
and dance basic Lat-
Tropical.
In 1995, Cecilia qualified for Bronze, Silver,
Gold and Super Gold certifications as an instruc-
more Salsa Festival, and the Salsa Web convention
in Washington. Salsa Fuego Dance Company has
also performed at international salsa congresses in
America in an exciting interactive performance. in rhythms such as tor and choreographer. Los Angeles, New York, Puerto Rico, and Amster-
Drawing from the musical heritage of the Carib- salsa. Performances While competing in Argentine Tango, she dam, Netherlands, where the group captured third
bean, Central and South America, Cantaré per- usually last 45-60 placed second and third in the “Tango Amor” place in the team competition in 1999. The success
forms an entertaining blend of songs in Spanish minutes and can be competition. During the same year, while in Bra- of the dance company and the notoriety of Ceci in
and Portuguese while sharing the music’s cul- offered by a duo, trio zil, Cecilia was asked to train and represent Peru the Salsa dance community have grown exponen-
tural and historical background. or quartet of musi- in the World Fitness Championship. Ceci placed tially. Currently, Salsa Fuego is a dance company
Particularly popular for high schools, colleg- cians. Since 2001, Cantaré has averaged a total third in the ESPN World Aerobics competition in comprising 15 dancers and Ceci, director, chore-
es and universities, its workshops combine a per- of 150 performances, workshops and residencies San Juan, Puerto Rico. Her professional experi- ographer and performer.
formance and a lecture with audience participa- per year at schools (pre-K through college level), ence in dance and fitness brought her to the U.S. Contact: Cecilia Villalobos
tion. Cantaré introduces participants to the three libraries and community settings. to instruct at the Latin Dance Company, World 703-597-7192
main cultural influences in Latin music: indig- 866-458-8966 Dance USA and Arthur Murray's Dance School. ccvillalobos@salsafuego.com
enous, African, and European. Participants are www.classactarts.org While at Latin Dance Company, Ceci took the www.salsafuego.com
Musical Tips
Solos and Duos
Solos and Duos
130 Back Latino Cultural Guide Latino Cultural Guide Next 131
The chacarera,
a rhythm from
Daniel Salazar Dayan Aldana
northern Argentina,
is popular in the
region known as the
Distinguished composer, singer, producer, Singer, actress, TV spokesperson
Chaco, shared by
Bolivia, Paraguay,
director and host for a variety of artistic events and radio personality
D D
and Brazil. At its aniel Salazar is a proud son of Quetzaltenango, Guatemala. He has ayan Aldana was born in Chiclayo, Peru, but brought her love of
heart are guitar
and bombo (drum),
been writing and singing his own songs since he was fifteen years old. music to the United States when she realized that her passion and
supporting the He began his career as vocalist of a rock group, “Los Terribles de Xela.” desire was to share her roots with the world.
melody played Today he lives in Maryland, Dayan has collaborated and toured with musicians such as Eva Ayllon,
on violin. They where, aside from making his Edith Barr, Cecilia Barraza, Pepe Torres, Oscar Cavero, Manuel Ercilla,
are accompanied own music, he also produces “Tito” Manrique, and Lucho Montalvo, and with groups from many
percussively by
hand claps and the
for other local artists and acts different backgrounds as well.
accented footwork as artistic director, host, and She has had many great honorary opportunities to perform in
of the male dancer, director of events, and in other Washington, Miami, New York, New Jersey, Delaware, and Virginia,
typically in tall entertainment roles. His lyrics including an invitation to sing and interpret the National Anthem of
boots, in contrast have been sung by renowned Peru at the White House.
to the female, who Contact: Dayan Aldana
makes her skirt
artists like Elizabeth de Gua- Aside from singing and from acting with Gala 703-928-3950
swirl. The dancers, in temala, Mónica José, Lupita Theatre, she also is known as a spokesperson for dayanaldana@gmail.com
couples, spin around de Guatemala, Gloria Marina, Univision TV and a radio personality. www.dayanaldana.net
themselves and each Aura Molina, Rosa Fernán-
other, arms held dez (Spain), Rubén Rodríguez
high.
(México) Grupo Fuego de los
Angeles, Arcángel de León,
Juan Ríos (El Salvador), and Join us!
Roberto Rey (Guatemala). For more
Some of his most famous inform
or visit ou ation call us Tel: (2
r web pag
songs are Ven a cantar conmi- e: www.fid 02) 483-8900
mi-mitierr
go, Payaso Loco, Halcón ves- a.org
tido de gorrión, Balada para un cantante, and La furia, which was recently
recorded in Los Angeles. He has appeared on national TV shows on three
different channels in Guatemala, and also on local TV channels in different
cities in the United States. His artistic career has taken him on tours cover- a place to share and to remember
ing all of Central America, Spain, Portugal, Colombia, Dominican Repub-
lic, Puerto Rico, Uruguay and Mexico, where he performed at the Club “Mi Tierra Market” a multicultural and family marketplace of nostalgic products, arts
Rioma, a venue previously owned by the late Mario Moreno “Cantinflas.”
and crafts located at the Unity Park between Champlain St. and Columbia Rd., just at
Daniel has been a distinguished guest of the jury of important events like
the OTI Song Festival of Honduras and the Miss Costa Rica pageant. the heart of Adams Morgan in Washington D.C.
His work has been featured in different English- and Spanish-language weaves
publications like Vanidades, Vistazo Internacional, Cosmopolitan, TV tam a le s ce ram ic s to rt ill as
Guides of some cities around the United States, and the Miami Herald.
le at h e r mu sic
Forthcoming appearances p u p us a s
Contact: Daniel Salazar p ai n t ng
e n ch il ad a s
include Celebrity Center, Jade
Theater, and the Guatemalan 202 528-7782 s
@ correcto105@yahoo.com FONDO INTERNACIONAL PARA EL DESARROLLO DE LOS MIGRANTES
Telethon, all in Los Angeles.
Eileen Torres
Her articles have been published in the magazines
anticipated dance shows.
She has worked with the National Council of
La Raza, HACR (Hispanic Association on Corpo-
rate Responsibility), Latino Sports Ventures, ZGS
versity's first Ballet Folklórico. She toured for
two years with The National Chicano Dance
Theater based in Denver, Colorado. She served
as instructor and choreographer for Alma de
Communications, and Latina Style Magazine. Mexico and founded and choreographed for
Latina Style, Latin Beat, Latin Vibes, She is an alumnus of National Hispana Leader-
ship Institute and has served as a consultant to the
the dance team, Salseros Unlimited, both in her
hometown.
Latin Music and Bravo! National Hispanic Corporate Council.
Eileen began performing Mexican folk dance
Contact: Eileen Torres
410-551-1546
E ileen Torres has been involved in salsa since

the early 1970s and has accumulated a
wealth of knowledge and personal experience. A
Salsa Award by Latin Beat Magazine for her ef-
forts to preserve and foster the growth of salsa
music. In September 2007 she was a recipient
at the age of six in her hometown. While at the
University of Colorado she co-founded the uni-
eileen@salsacentro.com
key figure in the Washington salsa community, of the Anna Maria Arias Memorial Business
Eliar Franco
she is the current president Fund Award. She was award-
of the DC Salsa Network, a ed $5,000 for the unique
group that exists to promote scope of her business. She
cooperation and communi- is perhaps the only woman
cation between salsa lead- in the world who promotes,
ers. She began offering salsa
dance instruction in 1976
produces, instructs, lectures,
writes, choreographs and en-
Eliar has around 50 songs of his own, of which
in her hometown of Lorain,
Ohio.
gages artists. In June 2008
Ms. Torres received the First
one has become very popular: ¿Por qué?,
Ms. Torres, president
also of Eileen Torres Pro-
Annual Jose Ruiz Lifetime
Achievement Award. During
which talks about the lives of immigrants
ductions, a salsa music and
dance entertainment com-
pany, has built a full-time ca-
that month she was inducted
into the Salsa Hall of Fame
and received another Life-
E liar Franco was born in Guatemala. Coming from
a poor family, he had the opportunity to study mu-
sic in Quetzaltenango and later went to the National
reer based on her knowledge time Achievement Award Conservatory of Guatemala.
of and passion for salsa, be- from peers and colleagues His interest in music was shown as early as six years
coming one of a handful of within the Stuck on Salsa of age, when he started playing his father’s guitar at
women making a living within the salsa indus- Promotions and Publishing group. church. Noticing his talent, people would ask him to
try. Her work includes promoting Salsa Nights Current and past clients include The Ken- sing for twenty-five cents a song. He moved to Mexico
at D.C.-area nightclubs, producing dance shows nedy Center, Smithsonian Institution, National looking for a future in the music world, but in 2004
and recognition ceremonies, fulfilling speak- Geographic Society, The Pentagon, D.C. Com- he traveled to New York and later to the Washington
ing engagements as a salsa historian, providing mission on the Arts and Humanities, Morgan area, where he now performs in restaurants and other
dance instruction, writing articles for magazines, Stanley, Salsa Conferences around the world, venues.
and booking bands, disc jockeys and dancers. and scores of others. He has made presentations in Takoma Theater for
In 1998, Starbucks Coffee Company con- Her articles have been published in Latina television. He has also been side by side with artists
tracted her to collaborate on the Latin compi- Style, Latin Beat, Latin Vibes, Latin Music and like Jimena, Los Tigres del Norte, Leo Dan, Marco An-
lation CD titled Mambo Mío. She assisted in Bravo! magazines. She has been voted Salsa tonio Solis, Alvaro Torres, Ozzomatli and Angela, “La
the selection of the music, wrote the liner notes, Metro’s Promoter of the Year four times. voz ranchera” of the area.
and composed a paragraph on each artist. In 2002 Ms. Torres created Tribute to Wom- Eliar has around 50 songs of his own, of which one
She received the Andy Award for her work en in Salsa, Tribute to Men in Salsa, and Tribute has become very popular: ¿Por qué?, which talks about
as a salsa historian and producer of salsa events to Salsa Choreographers. The ceremonies rec- the lives of immigrants. Contact: Eliar Franco
during the 2002 World Salsa Congress in Puerto ognize those that have made contributions to His goals are to travel far with his music and 540-664-0160
Rico. In 2005 she was presented with a Siempre the salsa community and are followed by highly to sing positive messages to humanity. www.myspace.com/eliarFrank
134 Solos and Duos Back Latino Cultural Guide Latino Cultural Guide Next Solos and Duos
Musical Tips 135
Francisco y Los Primos Graciela Vega The bachata, from
T
the Dominican
he group is normally composed of four or sional music system and DJ for danceable mu- Republic, is of
five musicians, but the number of perform-
ers can be adjusted according to the client's
needs. Los Primos present variety shows with
sic following their live presentations.
Contact: Francisco Fernández

G raciela Vega was born in Arequipa, Peru
in 1933. At the age of 5 she and her sis-
ter moved to Lima, the capital, in search of
humble and rural
birth, and probably
derived from the
301-592-9366 bolero of nearby
Latin American, folk, and international styles, better opportunities. As time went on Gra-
f.fernandez@verizon.net eastern Cuba. With
not for dancing. However, they offer a profes- ciela found that she had a knack for the arts its simple music and
and music. When she was 19 years old she raw lyrics, bachata
married Ramiro Vega, having three children did not become
FrankoJazz
and creating a strong family. In 1971 she accepted generally
in its native country
lost her beloved husband, bringing her sing-
until the late 1900s
ing career to a sudden halt. and the arrival
In 1990 Graciela met a musician, Miguel Cha- of electric bands
FrankoJazz covers a spectrum from Spanish caltana, who gave her much inspiration and moti-
vation to pick up the pieces, bringing back her pas-
and the new-style
bachata rosa. Juan
and African rhythms to jazz sion for music. Quickly they decided to collabo-
rate and to bring in Francisco Vega, her eldest son.
Luis Guerra took
the bachata rosa
worldwide with his
F ounded in 2004, Franko-

Jazz is composed of Frank
Agbro and his 10-year-old
This is how Estampa Criolla came to be. In
1996 she released her first CD, Graciela Contact: Graciela Vega
Vega…Voz y sentimiento, which includes
703-862-3453
band's energetic
arrangements,
romantic melodies,
and sophisticated
son Julian. Frank, also called songs like La flor de la canela, Odiame, Zaña and Chabuca limeña.
lyrics.
Franko, plays a variety of in-
Javier Julián
struments like bass, guitar, and
percussion. He handles vo-
cals, and is also a song writer.
Julian is a talented drummer
who also sings, and speaks flu-
ent English and German.
FrankoJazz covers a spec-
B orn of Dominican parents in the Dominican Republic, Javier Julián
spent most of his teenage years in Puerto Rico before moving to Wash-
ington, where he would discover his talent and restlessness for music.
trum from Spanish and African Beginning in area karaokes he gained recogni-
rhythms to jazz. The band has tion of the artistic abilities that would open doors
shared the stage and sometimes for him, leading to offers to debut in festivals of
sings together with Tito Torres, the metropolitan area. These served as a bridge Juan Luis Guerra.
"The Charro of Cuscatlán.” to other local events, where he was acclaimed by
FrankoJazz has performed at the Fiesta the press and television as a breakthrough young
DC festival and at the Ronald Reagan Inter- artist of Washington.
national Trade Center. Franko also performed This has given Javier Julián the luxury of
at William Clinton's presidential inaugural in taking a walk with Sergio Vargas (whom Javier
1996. FrankoJazz has a CD titled "Stop Run- calls "my father" for being his musical inspi-
ning, Dad." ration), Alvaro Towers, Monchi & Alexandra,
Contact:
Frankie Negrón, Olga Tañón, Manicomio, Toño
Frank Agbro, Manager
202-415-4512 Rosario, Gilberto Santarosa, Tego Calderón,
frankojazz@frankojazz.com Amarfis, Aventura. Javier Julián writes and Contact: Javier Julián
www.FrankoJazz.com composes his own songs. www.myspace.com/iamjavierjulian
Jennifer Blackman
She directs the Trinidad and Tobago
José Reyes
Association choir of Washington J osé Reyes is an example of triumph in our
local community. Coming from El Salvador
in 1974, he is now the owner of two successful
N ative Trinidadian Jennifer Blackman

teaches music at Adams Elementary
School, directs the Trinidad and Tobago Asso-
Trinidad and Tobago Steel Orchestra of Wash-
ington, D.C.
restaurants in the area.
In 1988, after receiving voice lessons, he re-
leased his first long-play with his hit, El Aban-
ciation choir of Washington, performs around Contact: Jennifer Blackman donado. His music has been played on several
202-529-1644
town in her “Wonz Enuff” one-woman band, local radio stations. He has performed at many
wonzenuff@aol.com
and was a member and musical arranger of the Latino festivals. He has three records: El aban- Contact: José Reyes
donado, El mundo en tus manos, and La batea. 202-328-3660
Jorge Anaya
José Reyes is also known for his generosity jose@eltamarindo.com
in helping children in need in Latin America. www.joseireyes.com
Itumiray
He is a truly talented musician who can
remember and sing more than 1,000 songs
J orge Anaya began performing in public at the
age of eight. With his guitar and music he
loves to share his talent with the public. Among T hree talented musicians from Bolivia form this original and wonderful-sounding Andean music
band. Combining traditional music and instruments with modern instruments and the latest
his achievements are winning Second Place in technology, the band achieves a beautiful mix for the joy of its listeners.
the OTI (Organización de Televisión Iberoamer- Itumiray's work also includes the most classic love songs from around the world, performed with
icana) song festival, receiving an award for his the beautiful sound
music from the Salvadoran government, and of the bamboo pan
performing at the presidential house of El Sal- flute. The main
vador. He has shared the stage with Jose Luis activity of Itu-
Rodríguez and Nicaraguan folkloric singer Car- miray since 1998
los Mejía Godoy. has been to attend
Jorge has two CDs. The first, Canciones de festivals around
Jorge Anaya, contains ten original songs. The the east coast, one
second, Canciones infantiles, is accompanied reason why it be-
by two videos to teach infants how to speak came one of the
Spanish. He also performed in a charity con- preferred Andean
cert to collect funds to help the victims of the music bands in the
Julio Cazón. Angel Peñaranda. Beto Cabrera.
earthquakes during 2001 in El Salvador. country.
For those who have known him for years, he The band includes Julio Cazón, founder of Itumiray and also a virtuoso wind pipes player; An-
is a truly talented musician who can remember gel Peñaranda, experienced and talented player of stringed instruments (acoustic guitar and char-
and sing more than 1,000 songs, including some ango); and Beto Cabrera, who combines all the instruments (bass guitar, electric guitar, keyboards,
that have already disappeared in some countries drums, etc...) in only one experienced musician.
Contact: Julio Cazón, Director
and cities. Itumiray has recorded six CDs. The last three 703-971-9749
Contact: Jorge Anaya Cds were recoreded in the band’s own studio. juliocazon@yahoo.com
301-892-2600 www.itumiray.com
Solos and Duos
Musical
Solos and Duos Tips
138 Back Latino Cultural Guide Latino Cultural Guide Next 139
Juan Carlos Molina Some 80 languages
J
are spoken in
uan Carlos Molina was born in Guatemala in 1967. second record, his trib- Colombia . When
He moved to Los Angeles when he was 12 years ute to Ricardo Arjona, a the Spanish began
old and two years later relocated to Silver Spring, Md. project that will include a to colonize the
Juan Carlos is Vice-President of Mason Dixon Fund- video, 14 songs of Ricardo territory, the main
northern chiefdoms
ing, Inc., a local mortgage company, and a real estate Arjona and three new piec-
were the Tairona,
agent with his wife Mónica Molina. es written by a well-known Muisca, and Zenú.
He began singing in 2005. A great admirer of his Argentine composer. Juan Carlos met Ricardo Arjona Other cultures that
fellow Guatemalan Ricardo Arjona, he has gained the in person last year in New York. They exchanged mu- had existed for
nickname of “The shadow of Ricardo Arjona.” Juan sical materials, and Juan Carlos gave Arjona his first hundreds of years
and lasted until
Carlos has performed in events like “Hispanics sup- production, Sueños.
around 1600 were
porting Hillary Clinton” and at local restaurants like
Mari Paz
Contact: Juan Carlos Molina the Late Quimbayá
Lima Restaurant and Lounge in Washington. He 301-257-4654 and Sonso in
plans to travel to Argentina for the production of his cmolina@masondixon.com the central zone
and the Late San
Karisma
Agustín, Popayán
and Nariño in the
She was one of 12 pianists selected to give southwest. Today,
about 2% of the
lecture concerts for the Smithsonian
K arisma was created in Colombia in 1990 by Gio- entertainment at all kinds of social events.
vanny Romero, who has taken care to develop Karisma is made up of two voices, feminine and
musical presentations to meet all cultural tastes, es- masculine, with accompanying instruments such as Institution's Piano 300, a celebration
population is
indigenous, although
there has been a
substantial mixture
pecially Latin American genres, as well as traditional piano, guitar, small percussion, and high-octave flute.
Colombian music for events of a cultural character. The latter is the result of Giovanny Romero's inven- of the 300th anniversary of the piano of races and cultures
in the country.
The duo has a long history and broad experience in tiveness in order to produce the right tonal shades for
Latin American music. Karisma has played through- Colombian folk music.
out South America, several European countries, Contact: Giovanny Romero
M ari Paz was influenced by her uncle, maestro Rodrigo Prats, a composer
and director and one of the three most important figures in Cuban lyrical
music, in particular as a composer of zarzuelas, musical pieces for the stage.
and the U.S., especially in New Jersey, Vir- 703-899-9238 She received a degree in piano arts from Havana's Conchita Espinoza Conserva-
ginia, Maryland and D.C., offering musical giovannyromero730@hotmail.com tory, and then continued her studies in Mexico City with renowned artists such
as Mario Ruiz Armengol, Roberto Pérez Vásquez, and Vicente Garrido.
Lupita Ramírez
Her training and broad experience have made her invaluable as a pianist,
arranger, and musical director in the Washington area for many years. She
has been a featured artist in GALA Theatre productions such as Raíces Cu-
L upita began singing around five years old, and

could be seen on Guatemalan national televi-
sion. She studied history of music, piano, marim-
vida, and Tú, mi aire; all by
Daniel Salazar. She sang her
own Todos tenemos un niño
banas, Poetas de Nuestra Tierra, Neruda 2000, La Dama Duende, and Mex-
ico’s Noches Bohemias. More recently she was responsible for the musical
adaptation of the book, and the selection of pieces, for GALA’s Agustín
ba, and flute. She also attended and performed at at the Conani festival with Lara: Boleros & Blues, in which she also starred as pianist.
the National Conservatory of Guatemala. much success. Mari Paz has served as musical consultant to GALita, the children’s ver-
She has recorded on several occasions. Her She has performed in Europe, Mexico and the sion of GALA, has performed in several cabarets with In Series, and has
songs are of her own inspiration and also from U.S. as a soloist. She has also been a lead singer for appeared in concerts at the Kennedy Center's Millenium Stage, the Mexican
other well-known authors like Daniel Salazar. groups and orchestras. In her multifaceted career, Lu- Cultural Institute, and several embassies. She was one of 12 pianists select-
In Guatemala she recorded Ayúdeme alguien. In pita has entertained at festivals like the Latino Festival ed nationally to give lecture concerts for the Smithsonian Institution's Piano
Washington she also recorded Lo que más quiero of Washington, and also at the Great Chapín Day. 300, a celebration in the year 2000 of the 300th anniversary of the piano.
de ti. She performed at the OTI Song Festival of Mari Paz resides in the Washington area, where she continues to in-
Contact: Lupita Ramirez
Guatemala, where she participated with songs like 202-256-3251 spire and move performers and audiences in the musical Contact: Mari Paz
¿Quién pone la música?, Arriba las manos, Soy tu anaramirezlupita@yahoo.com and theatrical arts. 301-509-5307
Nilko Andreas Guarín Oscar Rousseaux

Soloist and chamber musician, folklorist, guitarist A graduate of Cuba’s prestigious National
School of Art Instructors, Rousseaux
A recipient of Colombia's Living Abroad Award 2006, given to Colombians who have distin-
guished themselves outside of their native country, classical guitarist Nilko Andreas Guarín
graduated magna cum laude from the Manhattan School of Music in New York.
danced for 5 years with one of Cuba’s premiere
folklore companies, Compañía JJ. Since leaving
Cuba in 1997 Rousseaux has traveled across the
He began playing cello at the age of seven at the National Conservatory of Colombia, eventually Americas and Europe, perfecting his art, mas-
finding his true love in the classical guitar, which he studied with Ramiro Isaza. He also studied tering the batá drum, and developing a subtle
Colombian Music at the Bogotá Academy of Arts with Jorge Sossa and Néstor Lambuley, while awareness of the folkloric roots common to all
complementing his guitar studies under the tutelage of Gentil Montaña. countries of the Americas.
In 2000 he was After arriving in the DC area in 2003, Rous-
awarded a merit seaux rapidly gained fame on the local arts
scholarship at the scene, not only for energetic and invigorating
Manhattan School classes but also for colorful, engaging cho-
of Music in New reographies and charismatic performances.
York City, where Rousseaux received kudos as Artistic Director
he studied classical of AshéMoyubba, a group he made one of the
guitar in the studio community’s most promising young perfor-
of David Leisner, mance ensembles.
composition with That promise is now being realized by Alafia
Drs. Reiko Fueting Dance & Drum, which performs a broad reper-
and J. Mark Stam- Contact: Johanna Rousseaux toire of Cuban folklore and is lauded as much
baugh, and orches- 202-997-9121 for singing and live percussion as for dancing.
tral conducting with sonurbano@msn.com
alafiadance.spaces.live.com
Paul Brantley.
As a soloist
and chamber mu-
sician, Nilko An-
Our City
photo: JOSE SANCHEZ
dreas has given
numerous recitals
in the US and Co-
lombia, receiving
various accolades and appearing at renowned venues such as Merkin Hall, Symphony Space, Co-
lumbia University, Princeton University, Colombian consulates, the Colombian Civic Center (for
which he composed the organization's hymn), the James Memorial Chapel, Columbia University,
the Church for all Nations, Mannes School of Music, Peter Norton Symphony Space, the Midtown
Guitar Seminary, the United Nations, Lincoln Center, Summer Stage, Merkin Hall, the New Vic-
tory Theater on Broadway, and Steinway Hall.
Recently he performed at the Smithsonian Museum in Washington. Andreas has also performed for guitar
greats such as Manuel Barrueco, Eliot Fisk, Sharon Isbin, Roland Dyens, Ricardo Cobo, David Russel, and
David Starobin, among others. Most recently, Andreas was invited to perform alongside master pianist
Contact: Nilko Andreas Harold Martina at the
www.nilkoandreas.com Museum of Fine Arts Right: The gate
to Chinatown in
www.myspace.com/nilkoandreas in Houston, Texas. downtown Washignton.
Richard Miller Rumisonko, a

folkloric Andean
V-Masta
He has become well known in the Washington area band, released “El
Huerto/The V -Masta "Killah
Man," of South
for his performance of both classical guitar music Backyard” in 1985,
apparently the
American descent,
has been perform-
and popular Brazilian music
first time that a
local group used a ing in Latin America
bilingual title. and has recorded a
R ichard Miller was born in Rio de Janeiro, Two years later, wealth of material
Brazil to an American father and a Brazil- Salvadoran group with different MCs
Izalco titled its first
ian mother and moved frequently between Bra- record "Going
around the world.
zil, the U.S., and Puerto Rico. Home." Laya, a V-Masta's music
He has become well known in the Washing- folkloric Andean reflects a variety of
ton area for his performance of both classical band, released “A cultures and influ-
guitar music and popular Brazilian and Latin Time to Dream” in ences, from reggae-
1977.
American music. As a classical guitarist he has dancehall all the way to to hard-core hip-hop, creating a new style called
appeared in such places as the Brazilian-Amer- ragga-rap.
ican Cultural Institute, Strathmore Hall, the V-Masta has performed in Santiago, Chile, Medellin, Colombia, and Ven-
Kennedy Center and the Library of Congress, ezuela. Now he has moved back to the U.S. to show
Contact: Jose Acuña
and he has traveled extensively for recitals in 703-462-0156
his experience. Locally, he has performed at Lucky Bar,
Portland, Oregon and Trujillo, Peru with the Al- @ vmastamc@yahoo.com Cuzco, Artomatic, Batalla de los Gallos in New York,
exandria Guitar Quartet, on a tour of New York and many festivals around the area.
State with flutist Rebecca Jeffreys, and for a
solo recital in Rio de Janeiro.
A review of a concert by Richard at the State
Our City
Department affirmed: “Throughout his recital,
he not only displayed impeccable technique but
communicated his love of this beautiful music.”
As a “popular” musician, he has performed and
recorded with singers such as Lilo González
and Alaor Macedo, and he has been a fixture in
nightclubs in the Washington area for more than
six years playing Brazilian and Latin jazz.
Richard and vocalist Patrick de Santos perform
together often. They weave their main influences
and styles, creating a unique sound. Their suc- and foodfirst.org. Their musical expression ex-
cess has led to packed nightclubs and numerous ploits the endless variety of timbre and nuance
requests for private performances and concerts to and transcends the limitation of a duo.
benefit causes to which they are committed, such Joel Siegel, writing for the Washington City
as the National Geographic’s concert to aid the Paper, stated: “Together, they create an orchestral
victims of Hurricane Mitch and the One-Song- sound that renders additional instrumentation su-
One-Cause concert in support of world hunger perfluous,” and “Patrick and Richard strike a re-
markable balance between
Contact: Richard Miller disciplined technique and Right: A partial view of
richrellim@yahoo.com
emotional abandon.” Union Station.
144 Folk Dance and Music Back Latino Cultural Guide Latino Cultural Guide Next Folk Dance and Music 145
Folk Dance and Music

Folklore is tradition handed down through
generations without the intervention of
specialists and academics. It's the collective
product of popular ingenuity and art, natural
talent, observation, and reiteration. Over time,
what remains is what is worth keeping or must
be maintained, capturing identity and history in
a form that, by common agreement, is pleasing
and meaningful.
Folklore—in this case, in the form of dance and
music—begins in the countryside, first with the
original peoples and later with successive arrivals. The early soundmakers
are replaced by more sophisticated instruments, songs becomes more
complex, and dances evolve as well. The process of continuous change
at the same time preserves and maintains tradition. In many areas of
Latin America and the Caribbean folk dances and music are still common
and everyday matters, not something to be looked up in libraries and
museums. This section lists groups that are consciously dedicated to
the continuation of popular traditions of dance and music through
performance and instruction. They may be composed of dancers or
instrumentalists, drummers or singers.
Many groups take part in parades that are not so much an orderly
procession of civic groups and marching bands and floats, as is
common in the U.S., but rather a reproduction or representation of
communal dances of long ago. This is particularly the case with Bolivian
organizations, often called folkloric or cultural fraternities, of which
there are many in the area.
The section is organized according to national origin first, and then
alphabetically by the names of the groups. A special subsection represents an
effort to explain the meaning of the Bolivian parade contingents.
Right: The scene is not the highlands

of Guatemala, but Mt. Pleasant Street
in Washington.
ARGENTINA
Cantoral
The group specializes in all kinds
of Argentine foklore
F ormed in 2002 when the members met at
an asado, Cantoral has played from Dela-
ware south to Virginia. The group’s first CD
is currently in production. Cantoral special-
izes in all kinds of Argentine foklore and Contact: Horacio Jimenez
other music from Latin America. With a trio 301-793-7215
horluis@hotmail.com
at its center, it expands with other musicians
www.cantoraltr3s.com
to fit the occasion.
Folklore 4
Their influences come from
many of the countries
surrounding Argentina
F olklore 4, an Argentine folkloric dance
group, was founded in 2004. They have
been known for their impact on individual and
group dance. Their influences come from many
of the countries surroundin g Argentina. To
name a few: Peru’s marinera dance, Paraguay’s
polca de la galopera, Bolivia’s carnavalito
and cueca, Uruguay’s candombe, and Chile’s
cueca.
Life somehow separated the members but
brought them together again here in the U.S.,
where they were able to put together Folklore
4. They now perform in the Argentine Festi-
val in Va., the Latino Festival in D.C., various
embassies, and schools
Left: Parade of Nations
at Latino Festival 2007:
within the D.C. metro-
Ballet Folklórico Ritmos politan area. Contact: Osvaldo y Adela Aquino
del Perú (above) and 301-908-2642
Brazilian contingent www.Folklore4.com
(below).
BOLIVIA BOLIVIA
Llamerada
Folk Dances of Bolivia

Originally karuwani, llamerada is one of the oldest indigenous dances, dating back to the pre-agri-
cultural Aymara nation. The dance, according to tradition, reproduces a ring of humans herding llamas,
alpacas, and vicuñas, the camel-like animals of the Andes. After shearing the animals for wool and tak-
ing the old and injured for food, the herders sacrificed a llama to the gods. The dancers wear distinctive
square hats resembling those of early Aymara authorities. They hold a sling, or korawa, in the right hand.
While the participation of women in most dances is only a few decades old, women have taken part in
the llamerada since early times, as the dance corresponded to their domestic tasks.
M any of Bolivia’s traditional dances come from pre-Columbian times; others reflect the clash
between native, European, and African cultures during the colonial period, and a few are of
more recent origin.
Morenada
The morenada (dance “of the Moors”) is a stately slow march. The women wear hats and long
Some dances still take place in Bolivia as traditions that endure; others are versions intended to flowing dresses, or short dresses with tall boots. Phantasmagoric male costumes include feathers,
be performed at carnivals and contests, retaining a ritual meaning while adopting modern aspects stiff round capes, and heavy black or silver masks with European-style smoking pipes. The dance
such as choreography and especially-made costumes. Washington-area groups perform a number is accompanied by sounds that evoke the dragging chains that bound the African slaves. The dance
of the traditional dances, but by no means all of them. The following notes concern dances likely may derive from the use of slaves—hence the black masks—in the mines of Potosí, whether as
to be seen in this area. miners or in the coin-minting operations—hence the silver masks. The dance may also indicate the
later use of the Africans in wineries, now long-abandoned, in the lowlands, or derive from the fish
Caporales dance of the Aymaras around Lake Titicaca.
The caporales (foremen, supervisors) appear in vivid costumes and boots with bells, wielding
whips, dancing to a heavy down beat with strong movements of intentional masculinity. They are Pujllay
accompanied by seductive chinas in high heels and fancy dresses by now reduced to minimal size. The Carnival of Tarabuco, also known as the Pujllay Yampara, conserves almost without chang-
The dance of the caporales is of recent origin, created in 1969 by the Estrada Pacheco family of es its folkloric essence, expressed in its heavy walk, its melancholic and monotonous music, and
promoters. The caporal as a character derives from an earlier afro-Bolivian dance, the saya (see the solitary song of a farmer expressing his love for a young woman. Pujllay also recalls the groups
below). or “wheels” of farmers and of mestizos of Chuquisaca, who traveled the settlements on foot or on
horseback visiting houses where they found chicha (fermented corn drink) and pukaras. The latter,
Cueca pre-Incaic defensive weapons, in the Pujllay become silver bows decorated with white flags, foli-
This is a lively post-colonial dance without indigenous roots, in which handkerchiefs feature age, and products to be harvested: corn, flowers, potatoes, vegetables, beeswax, meat, drinks, and
prominently, similar to the Chilean version and related to the Peruvian marinera and the Argentine so on. The sencka tanch’ana, a flute whose openings are placed far below the mouthpiece, requires
zamba. It follows a strict three-part structure. It is known especially in the southern department of the musician to adopt and unusual and uncomfortable position. Country people of humble dress
Tarija. interpret the five-note music of pujllay, as well as new huaynos they have composed.
Diablada Saya
The Diablada represents the struggle between Good and Evil, in which the evil Supay cult of Saya is a dance of the Afro-Yungan peoples, who gradually took on native clothes and customs,
Wari, the god of the mountains, has merged with the Catholic devil, and the native Earth Mother, losing their own traditions. In one interpretation, the dance ridicules the black foreman who mistreated
Pachamama, has been transformed into the Virgin of the Socavon. The dance portrays the struggle the newer arrivals from Africa. In another, he symbolizes social order, and is not the abusive foreman
of St. Michael Archangel and the Virgin of Candelaria against the devils. Despite its serious subject of the dance of the negritos. The character of the foreman was later taken up for the separate dance of
and the size of the fantastic mask of the devil, it is a high-stepping dance with the upbeat feel of a the caporales. Although thus thematically related, the two dances have no musical connection—not in
tarantella, accompanied by brass instruments and drums. The first Diablada of Oruro was formed the rhythm, the instrumentation, or the melody. Beginning in the 1980s, saya was revived and carefully
in 1904. reconstructed by college students, leading to social organizations such as the Movimiento Cultural Saya
Afroboliviana. Saya is played by specific drums with the support of the coancha or reco-reco, a loud
Huayno or Huayño scraper. The rhythm is set at the start by the bells of the whip-wielding caporal.
Both music and dance, the huayno is widespread in the Andean regions of Bolivia, Ecuador, and
Peru. Its origins are pre-Columbian, but it is now played with wooden flute (quena), charango and Suri Sicuris
small guitars, harp, and violin. Trumpet, saxophone, and accordion may be added. The music is The choreography of this dance was created in Oruro together with the musical adaptation of
pentatonic (five-note scale) with a 2/4 rhythm, and very danceable. the caluyo and the huayno, bringing back a folkloric character known by his exquisite presence
BOLIVIA BOLIVIA
and singular attire, the Suri Sicuri, who wears a conical crown bordered by bird feathers. The men
also wear a tiger-skin chest covering; the women wear colored skirts. A dance with pre-Columbian
roots, it stages the hunt of the suri or ñandú, an ostrich-like bird. Sicu is the Andean pan pipe, and
those who play it are sicuris.
Alma Boliviana
Tinku
Its members include young people of other nations
An ancestral custom of the Andes, the Tinkus are subject to varying interpretations ranging from
devotion to and blood sacrifice for the Pachamama to a ritual defense of community fields. Tinku is
such as Mexico, El Salvador, Peru, Ecuador,
Musical Tips
a battle between communities; tinkunacuy is a fight between two individuals in which blood must
be drawn. The fights are scheduled for the main plaza of a community, and last 20 to 30 minutes
Nicaragua and the U.S.
each. Local authorities, symbolic whips in hand, referee the fights.
Tobas
A lma Boliviana
was founded by
María DeMartini in
The Guaraní language
is the only indigenous
The Amazonian Tobas are believed by some to have traveled to Oruro attracted by the fame of 1991. At first perform- language that is used
the Virgin of Candelaria, and were later represented in religious feasts by dancers in rain-forest ing the dance of anta- in Latin America by
clothing. The Tobas are an Aymara representation of these peoples, in particular the Tacana, with wara, it has focused a general national
population. In
wooden masks and feathered headdresses. In a different version, the Quechua took prisoners from lately on the danza de Paraguay , where
the rain forest, leading to the Aymara creation of a dance of the captured. As the Aymaras later caporales, tinkus and it is recognized as
moved to Oruro and La Paz, they recreated the dance and called it Tobas, the name of a people Bolivian cueca. an official language
from the Chaco, and included masks and feather headdresses from the Tacana. The dancers dress The group has along with Spanish,
lightly, not just because of the rain forest environment they recreate, but because the dance requires performed at the in- more than 90% of
the population uses
powerful movements and great physical effort. auguration of presi- it. The Argentine
dents, at the Kennedy province of
Waca toqoris Center, and at other Corrientes also gives
The dance of the dancing bulls is an indigenous representation of the Spanish bullfights as a national venues and official status to
dance. Elements for ridicule are cows, a kusillo (a kind of clown) and jilakata, an indigenous au- events. Alma Bolivi- Guaraní. Paraguay‘s
constitution is in
thority figure who carries a stick and commands the dance group. A bullfighter or kausalla carries a ana also participates both languages, as
sword and dresses like a Spanish bullfighter. The milkmaids wear up to 25 skirts at the same time, in local festivities like are most textbooks.
which they show off as they spin to the music. Arlington's Nieghbor- Paraguayans switch
hood Parade, Fiesta between Guaraní and
Sources: DC’s Parade of Na- Spanish in everyday
Danzas tradicionales de Bolivia, Viceministry of Tourism conversation.
tions, Hispanic Heri-
Tanzegruppe Bolivia
Fiesta DC tage Month events, the
Bolivian Festival and
many others, and has
been invited to New Jersey, New York, and Florida. It provides a whole-
some environment for youth, with a membership that is mostly from five to
20 years old. It is the only group in the U.S. that presents its own original
music.
Alma Boliviana is under the leadership of current president Jaime Inofu-
entes and vice-president Lucio Villazón, with the supervision of María De-
Martini. Its members include young people of other nations such as Mexico,
El Salvador, Peru, Ecuador, Nicaragua and
Contact: Lucio Villazón, President
the U.S., demonstrating admiration for the 703-892-0241
beautiful Bolivian folklore. directors@almaboliviana.org
www.almaboliviana.org
BOLIVIA
Bolivia Andina
Bolivia Andina is known especially for the dance of
the waka-toqoris or milkmaids.
F raternidad Bolivia Andina was founded in
1995 by Luba Morales, with the purpose of
keeping alive and popularizing Bolivian foklore
and cultivating the beauty of its dances and tra-
ditional cultural expressions with roots going
back for many decades. It has participated in
events of the Washington area and other cities
in the U.S.
Bolivia Andina is known especially for the
dance of the waka-toqoris or milkmaids. Every
year it brings new dances into its repertory, such
as the dance of the ch’utas, moceñada, sicuria-
da, kullawada, and llamerada, being
the only group that interprets these Contact: Comité Pro Bolivia USA
dances of long tradition accompa- info@proboliviausa.org
nied by live musical performers. www.proboliviausa.org/bolivia-andina.php
Caporales San Simón

Virginia USA
I
n existence as part of other groups since 1988
under the leadership of José Quiroz, San Simón
USA became independent in 1999. The group
exists for the same reason as that of many other
fraternities, to show the richness and culture of
Bolivian folklore. It seeks to bring young people
together through learning their history so that they
are able to share it with generations to come.
San Simón USA has performed at many
festivals in the Washington area, such as the
Bolivian Festival in Arlington, Cherry Blossom
Parade, Mount Pleasant
Hispanic Heritage Fes- Right: Parade of Nations
Contact: José Quiroz, Comité Pro Bolivia tival, and In- 2007. In the foreground
are contingents from
jquiroz@proboliviausa.org dependence Dominican Republic,
www.proboliviausa.org/san-simon-usa.php Day Parade. Mexico, and Bolivia.
BOLIVIA

Centro Cultural Bolivia
C entro Cultural Bolivia was founded in 1991
by a group of persons who sought to show
the best of Bolivian culture outside of the na-
achieved a faithful interpretation of the dance,
making use of authentic and original dress
brought exclusively from the village of Tarabu-
tional borders. It has currently more than 60 co in Chuquisaca department.
members, including Bolivians, those of Bo- The costumes, choreography and music of the
livian descent, and of other nationalities, who tobas dance are different from those of Andean
wished to join because of the brotherhood that expressions and show the warmth and joy of the
predominates among its members as well as the people of the tropical region of Bolivia. Centro
rich and colorful traditional dances. Cultural Bolivia has appeared at parades and festi-
The pujllay is one of the ritual dances still vals such as Cherry Blossom Parade,Washington;
preserved with the purity and ancestral tradition Festival of the Virgin of Urkupiña, Rhode Island;
of the inititation of the priestesses in their adora- Festival of Flags, New York; saya contest, Virgin-
tion of the Sun God. Centro Cultural Bolivia is ia; and tinkus contest, Virginia.
definitely the only group to have
Contact: Jimmy Claros, Artistic Director
Above and Left: Wooden 703-930-2678
masks of the Tobas jclaros@proboliviausa.org
dancers from Bolivia. www.proboliviausa.org/centro-cultural-bolivia.php
Musical
156 Folk
Tips Dance and Music Back Latino Cultural Guide Latino Cultural Guide Next Folk Dance and Music 157
BOLIVIA BOLIVIA
The hat worn by Embajadores del

Folklore
indigenous Andean
women in Bolivia
looks like an English
bowler, or derby,
hat, because that
is precisely what it
is meant to imitate.
It arrived in Bolivia
with the English
E mbajadores del Folk-
lore was founded in
2002 in Virginia to cul-
workers sent there
to build railroads. tivate and promote Bo-
The hat became livian folklore through
a typical part of a the performance of the
woman's dress, but ancestral dance of more-
it was never taken
nada.
up by the men.
The fraternity is com-
posed of around 60 danc-
ers, including children,
Fraternidad Cultural
youth, and older people
who love this unique
Bolivian expression.
Currently it is directed
Pachamama
by Hugo Céspedes, pres-
ident, Roberto Gonzáles,
vice-president, and Es-
tela Suárez and Marcela
Calvi, treasurers.
Embajadores del Folk-
lore has received acknowl-
In its few years of existence, it has won important and
edgments and awards for
its participation in gov-
significant awards in Virginia, California and New York
ernmental, social, educa-
tional, and political events
of the Washington metro-
F raternidad Cultural Pachamama was
founded in 2000 by the family of Gonza-
lo Sandoval, in coordination with Rosmary
Anaheim, Ca., 2005; and Winners of the Dance
Festival in New York, 2006.
It took part successfully in the Carnaval of
politan area, as well as in Barrientos and family, Gonzalo Alanes, and Oruro in 2006 and 2007, becoming the first
other states of the U.S. Freddy Andrés. They counted also with the Washington-area group to participate in that
invaluable support of the Jiménez-Quintana majestic festival.
family of Fundación de la Fraternidad. Be-
ginning with around 30 dancers, FC Pa-
chamama currently has more than 100 asso-
ciates.
In its few years of existence, Pachamama
has won important and significant awards, such
Contact: Hugo Céspedes, President as Winners of the 1st, 2nd, and 3rd tinkus con- Contact: Gonzalo Sandoval, President
703-768-3354 240-533-8918
test (2002, 2004, 2006), organized by Comité
fesbo@hotmail.com tigre990@verizon.net
www.proboliviausa.org/embajadores-del-folklore.php Pro-Bolivia; Winners of the Dance Festival of www.pachamama.us
BOLIVIA BOLIVIA
Fraternidad Folklórica
Juventud Boliviana
F ounded in 1991 by Maria Luisa Aliaga and Fernando Aliaga,
the group was organized with the idea of presenting the beauty
of Bolivian folklore through traditional dances such as morenada,
tinkus, and cueca.
Juventud Boliviana has performed at community, social, edu-
cational, political, and religious events in Washington, Maryland
and Virginia. It is an official member of Hearabout, an agency of
Arlington County's Multicultural Office that brings together the
groups most representative of the world's folklore and culture.
Contact: Comité Pro Bolivia USA
info@proboliviausa.org
www.proboliviausa.org/juventud-boliviana.php
Fraternidad Folklórica Fraternidad Tobas Dinastía

Raíces de Bolivia F raternidad Tobas Di- Contact: Sonia Salvatierra, President
nastía was founded in tobasdinastia@hotmail.com
Falls Church, Va., in 2006 www.videofiend.com/Tobas-Dinastia-9336517.aspx
by Paola Rivera. They are
The group participates in many a group of young adults and their families who believe in keeping tradition alive and who have
come together to represent their roots.
local festivals within the D.C.
metropolitan area
R aíces de Bolivia’s official name is “Fraternidad Folklórica Raíces de Fundación Socio Cultural
Diablada Boliviana
Bolivia”. Founded in 1988, it is known for its very powerful dance
of saya-caporales.
Raíces de Bolivia participates in many local festivals within the
DC metropolitan area like the Independence Day Parade, Arlington
County Parade in Virginia and the Latino Festival in Mount Pleas-
ant. The group was invited to the
Puerto Rican International Festi-
Contact: Fernando Quintero, President
T he Fraternidad Diablada Boliviana, created in 1998, became in 2000 the Fundación Socio Cultural Dia-
blada Boliviana. It works to improve the lives of low-income families in Bolivia, and, in the cultural sphere,
to maintain the dance of the diablada a a major
703-627-8316 Contact: Nelly Zapata, President
val in San Juan, and participated angelfq1@yahoo.com cultural expression of Bolivia. It also performs fundacionscb@yahoo.com
at the Bellas Artes Theater. www.proboliviausa.org/raices-de-bolivia.php the dances of chacarera and kullawada. www.zonavipdc.com/cultura2.htm
BOLIVIA BOLIVIA
Sangre Boliviana Tinkus Jayas

S angre Boliviana (Bolivian blood) is one of
the oldest existing Bolivian groups, founded
T inkus Jayas was formed in 2007 with the
purpose of showing that Bolivian culture
does not stay at home but travels the world. It
in September 1987 and directed by Jorge García, consists of more than 50 dancers of many na-
his wife Carmen García, Edmundo Ballesteros, tionalities, ranging in age from 4 to 41 years old.
and his wife Rosario Osinaga, along with other The group is in the process of expanding and
family members. working on new ideas such as scholarships.
Their goal is to teach and educate those from Contact: Rosario Sánchez, Director
other parts of the world about the richness and 202-391-5226
culture in the saya-caporales, tinkus, and suris si- tinkusjayas@hotmail.com
curis. Sangre Boliviana has made about 38 presen- Contact: Gonzalo Gutiérrez, President www.tinkusjayas.com
tations a year by reaching out to many different 703-819-5728
cities throughout the United States. www.sangreboliviana.com
Yaku Band
Sociedad Cultural B ack in December 2000 the group Sayubu
arrived at Minot, N.D., for a tour through
different states in the US. The group came
Tradiciones Bolivianas
with Alexander Cámara, one of the leading ex-
ponents of charango in Bolivia. The charango
is a small South American string instrument of
the lute family, about 66 cm long, traditionally
made with the shell of an armadillo. It typically
S ociedad Cultural Tradiciones Bolivianas

was founded in 1997 as Tradiciones Bolivi-
anas, with the goal of promoting and preserv-
has 10 strings in five courses of 2 strings each,
although other variations exist.
Later, in July of 2003, a new group, Yaku,
ing the culture, music, dance and traditions of which means “water” in Quechua, was formed
Bolivia, as a tribute of love and respect for our with some of the members of Sayubu. Headed (Cochabamba), percussion, guitar, third voice;
original peoples. by David Chávez and with Javier Mendoza, Javier Mendoza (Potosí), first voice; Marco
All of the interpretive dances of this group Marco Udaeta, and Néstor Gonzáles, Yaku be- Udaeta (Cochabamba), fourth voice; Jhon
are based on the central rhythms of the wiphala, came a reality. Machicado (La Paz), woodwinds; contralto
huayño, and salaque that date back to the lyri- They perform folkloric music from Bolivia, voice; Wilson Vásquez (Oruro), charango, third
cal dances of the pre-Hispanic Inca empire. but their repertoire also includes a rich variety of voice; Ronald Uriona (Cochabamba), guitar,
Latin American pieces. Yaku showcases the var- second voice.
ied rhythms from Bolivia's different regions. In Yaku performs at different events and ven-
the highlands: morenada, kullawada, llamerada, ues like festivals, private parties, restaurants and
kantus, tarqueada, diablada, tinkus, etc. In the others. The group will soon release a CD, in-
valleys: cueca, huayno, bailecito, saya, caluyo, cluding its own songs.
Contact:
chuntunqui, etc. In the East: carnavalito, ta-
Julia García, Director Contact: David Chávez
info@proboliviausa.org quirari, chovena, tobas, chacarera, tonada, etc. 571-437-1697
www.proboliviausa.org/tradiciones-bolivianas.php These are Yaku's members: David Chávez yakubolivia@yahoo.es
BRAZIL
CapoeiraDC
C apoeiraDC is a 501(c)(3) non-profit organiza-

tion founded in 2003 by Renford Powell, Vice-
roy Andrews, and Aysha Corbett.
Curisco (lightning) of Capoeira Malês (www.
curisco.com), from Seattle, Wa., and formed
CapoeiraDC.
The mission of CapoeiraDC From its inception, Capoei-
is to promote the Afro-Brazilian raDC has grown tremendously.
martial art called Capoeira Con- Currently we offer seven adult
temporânea, a fast-paced blend classes per week, a kids' Capoe-
of self-defense, dance, acrobat- ira class, and two Samba dance
ics, and music. In 2003, there classes.
were no Capoeira schools in the CapoeiraDC is also active in the
District offering instruction in D.C. community: we participate in
Capoeira Contemporânea. The two after-school programs in South-
three founding members, all east, perform at local festivals, and
long-term D.C. residents dedi- offer free workshops and communi-
cated to the practice and growth ty nights introducing various aspects
of Capoeira Contemporânea, of Afro-Brazilian culture.
Left: Brazilian dancer
sought out the
knowledge and expertise Contact: Ren Powell, Manager
enjoying a parade
240-606-4446
performance. of Capoeira master Mestre
COLOMBIA - CUBA CUBA - DOMINCAN REPUBLIC - GUATEMALA
Tangaré Invasores del 80

T he group Danzas Folklóricas Afro-Colom-
bianas “Tangaré” was born as an initiative
I nvasores del 80 have been a constant pres-
ence in Washington since 1980, appearing
in festivals and cultural centers both by them-
for young Afro-Colombian residents in Wash- selves and together with other performers of
ington, D.C. to come together. Their purpose Cuban rumba.
is to rescue, popularize, and make their culture Their specialty is guaguancó with the flavor
Contact: Esmeralda Zúniga, Director
and roots known through the typical dances of grupotangare@yahoo.com of the streets of Havana.
their region.
Contact: Francisco Rigores
202-232-3679
Alafia Unión Cultural Dominicana

U nidad Cultural Dominicana was established dancing to the traditional Dominican rhythm
by Franklin García to serve as an umbrella of mangulina. It also features youth wearing
for efforts to unify all of the Dominican-orient- the traditional carnival costume "diablos cajue-
ed organizations in the greater Washington met- los.” Baseball players from the local Dominican
ropolitan area. league of Los Monstruos round out the folkloric
Unidad Cultural Dominicana’s folkloric group of Unidad Cultural Dominicana.
group is coordinated by Elpidia Garcia
and Janet Liriano. Its members include Contact: Franklin García, Director
young ladies wearing traditional Domini- 703-338-7095
franklin.garcia@baesystems.com
can gowns and young men in traje típico
Awal
A wal was founded in 2005 with the sole pur-
pose of disseminating the rich folklore of
Guatemala. Based in Arlington, Va., the group
is well represented by Awal, with its traditional
colorful costumes and dances and the distinctive
sound of its music.
has performed at many different festivals in the AWAL’s members are: Luisa López, Ubaldo
photo: KENIA LOBO
D.C. area. Sánchez, Lidia López, Vinicio Cabrera, Thelma

The Mayan meaning of Awal is “the sower.” de León, Celso Sánchez, Jessica López, Brandon
The group’s objective is to sow the Mayan cul- Juárez, Julia Sánchez, Helder Pérez, Mayra Sán-
ture into young children’s lives. As the sower chez, Ovidio Cabrera, Jenny Juárez, Luis Pérez
L ed by master dancer and choreographer Oscar Rousseaux, Alafia Dance and Drum performs
and offers classes in Cuban and
other Latin genres, including songs
Contact: Johanna Rousseaux
believes that his seeds will flourish, the group’s
members believe that they, too, can bring up
a new generation that is aware of its roots and
and Julia Cabrera.
202-997-9121 Contact: Vinicio Cabrera, Director

and dances to the orishas, batá drum- sonurbano@msn.com continuously harvests values and appreciation of 703-587-2720
ming, casino, and salsa. www.myspace.com/AlafiaDanceDrum their history. The Mayan culture of Guatemala caloveju@yahoo.com
MEXICO MEXICO
De Colores
The group performs dances from states such
as Jalisco, Veracruz, Nayarit, and Guerrero,
and also Aztec dances
Bailes de Mi Tierra Musical Tips
F ounded in 2002 by Marcia St. John Cunny,

Bailes de Mi Tierra is a weekly after-school
program for the childen of Rose Hill Elemen-
F ounded in 1996, De Colores shares Mexican heritage and culture. It
takes pride in pleasing its audiences while educating them about the
traditional dance forms, costumes, and customs from various Mexican
The charro uniform of
the mariachis—the felt
tary School in Fairfax, Va. The purpose of the regions that have continued to flourish through the years. sombrero, white shirt
and kerchief tie, the silver
program is to promote Mexican culture among The long-range vision of De Colores is to establish an Instituto de
studs, the long skirt and
the young generations through dance and mu- Danza for adults and children in the nation's capital in or- jacket for the women,
sic. der to teach and train future generations of artists. These the matching outfits—
The activities of the group, which are part of efforts will develop and broaden cultural and artistic di- does not represent
the school’s bilingual program, are conducted versity throughout our communities and enhance the un- the working dress
of Mexican cowboys
in Spanish. The group teaches folkloric Mexi- derstanding and appreciation of the cultural traditions of
(or cowgirls). For
can dances through a repertoire that includes Mexico. performances, the charro
pre-Hispanic and indigenous dances. is more the traditional
image of the owner or
Contact: Jorge A Cámara, Director Contact: Rocío Bermúdez, Director
boss who commanded
202-420-1180 202-821-6472
the real cowboys.
Acoatzin3@hotmail.com decoloresdance@yahoo.com
MEXICO
Los Quetzales Mexican

Dance Ensemble
The piano-style
accordion was
brought to America
from Europe
and adapted for
styles such as
Mexican norteñas,
Founded in 1997, the group is
the Dominican
merengue, and
Northern Virginia’s premiere folkloric
the Colombian
vallenato as well performing dance company
F
as Louisiana's
zydeco. A relative
ounded in 1997, Los Quetzales Mexican Dance Ensemble is Northern
of the accordion, Virginia’s premiere folkloric performing dance company.
harder to play Director Laura Ortiz was born in the state of Zacatecas and raised in Mexico
and using buttons City. She has studied and danced Mexican folklore and Spanish flamenco since
rather than piano childhood. In 1973, she moved to Los Angeles, California, where in school she
keys, became the
central instrument
became an active participant of the “Roosevelt-High Ballet Folklórico.”
of traditional In 1975, she joined the most prestigious Mexican folkloric company in the
tango. Called the United States, “Ballet Folklórico Mexicapan,” founded and directed by Ben-
bandonion by its jamín Hernández, the pioneer of Mexican Folklore in Southern California, and
German maker, Patricia Barragan-Hernández.
the bandoneón is
found principally
She has toured extensively throughout Mexico, the United States, and
in Argentina and Puerto Rico as a member of professional ensembles like Ballet Folklórico
Uruguay. Mexicapan, Ca.; East Los Folklóricos, Ca.; International Folk Ballet, N.Y.;
MM Dance Company, D.C.; Ana Martínez Flamenco Dance Company, Ar-
lington, Va., and her own company, Los Quetzales-Mexican Dance Ensemble,
Arlington, Va.
Ortiz received her professional training under masters of Mexican folklore
and at venues such as the Universidad de Guadalajara and Universidad Veracru-
zana. Ortiz has continued to attend regular master dance workshops in Mexican
folklore and flamenco for over 20 years, and still attends specialized periodic
master workshops in both fields.
Since 1994 she has been Region Representative and Board Member, Orga-
nizer and Contributor of the internationally-acclaimed Asociación Nacional de
Grupos Folklóricos (National Association of Folkloric Groups), a bi-national
organization dedicated to the research and preservation of Mexican folkloric
culture and traditions.
Ortiz has been the recipient of numerous grants and awards, including her
most recent mention by the Virginia Foundation for the Humanities-Folklife
Program, as a Master Folk Artist. She was selected as the 2005-2006 Master
Folk Artist under the Virginia Foundation for the Humanities, Master-Ap-
prenticeship Program. Ortiz also served as an Adjunct
Contact:
Professor of Dance with Right: Los Quetzales
Laura Ortiz, Director
703-528-4142 Georgetown University’s perfoming dances from
the state of Puebla
quetzalesdanzas@yahoo.com Program in Performing (above) and from pre-
www.quetzales.org Arts from 2004 to 2007. Hispanic times (below)
MEXICO MEXICO
Los Tecuanis
During their performance they attempt to defeat evil,
represented by the jaguar
Maru Montero Dance Company

As a professional artist, Montero has traveled
across the globe to bring the joy of Mexican
dance to broad audiences
F ounded in 1992 by former Ballet Folklórico
de México lead dancer Maru Montero, the
company is a non-profit corporation dedicated
television and praised as "magic" by the Wash-
ington Post.
As a professional artist, Montero has trav-
to promoting the joy and beauty of Latin culture eled across the globe to bring the joy of Mexi-
T ecuani is a Nahuatl word combining “te,”

something or someone, and “cuani,” that
which eats or frightens—the jaguar.
trate this same fight. During their performance
they attempt to defeat evil, represented by the
jaguar. Wooden masks and black clothing are
in the United States. Performing at various ven-
ues around the Washington area, it offers a wide
selection of Latin American dance programs. It
can dance to broad audiences. She is a gradu-
ate of Leadership Washington and a winner
of Washington, D.C.'s Outstanding Emerging
The dance of the Tecuani has its roots in the intrinsic to the purpose of the dance, in which also organizes the annual 5 de Mayo Fiesta in Artist Award. Also an accomplished and award-
two fundamental principles of humankind, Life the fearsome tiger takes center stage. downtown Washington. winning artist, Montero creates sculpture, jew-
and Death. With this dance, the Olmecs illus- The dance of the Tecuani comes from the Maru Montero and her dancers have per- elry and other art forms.
trated the relationship, struggle and dependency South Central region of Mexico. formed at the White House, the Kennedy Cen-
of these two elements. Good fought against evil ter for the Performing Arts, the Smithsonian Contact: Maru Montero, Director
and death. Contact: Luis Reyes, Director Institution, and numerous other stages, as well 202-315-1313
The Olmecs believed in resisting all of the 571-247-2554 as entertained thousands of children in school admin@marumontero.com
adverse components of life. The Tecuanis illus- Reyesmnsss@aol.com performances. They were featured on national www.marumontero.com
172 Folk Dance and Music
Musical Tips Back Latino Cultural Guide Latino Cultural Guide Next Folk Dance and Music 173
PANAMA PARAGUAY
According to
our records,
Ballet Folklórico
de Panamá
Grupo Folklórico
de Panamá
(GRUFOLPAWA)
is the oldest
(GRUFOLPAWA)
Latino dancing
ensemble in the
metropolitan area.
It was established
by Dr. Norma
Small and its first
presentation
was during the
G RU F O L PAWA
(Grupo Folklóri-
co de Panamá en Wash-
Latino Festival
of Washington in ington) is a non-profit
1976. At that time organization with roots

the celebration in the nation’s capital.
used to take place In existence since the
in Adams Morgan.
late 70’s, GRUFOL-
PAWA is composed
of a diverse group of
PACOAN
men and women of all
ages, and mostly, but
not exclusively, Pana-
manians.
(Paraguayos con Añoranza)

The group’s mis-
sion is to disseminate
Panamanian folklore
by means of its music
and interpretive danc-
The group presents traditional dances,
es. GRUFOLPAWA
provides rewarding
some with roots in pre-Spanish times
community-service
experiences to our
youth, families and
T he name Pacoan is short for “Paraguayos con
Añoranza.” The group presents traditional
dances, some with roots in pre-Spanish times.
fluently throughout Paraguay. With a joyful and
contagious rhythm, it is autochthonous music
from Paraguay’s authentic folklore.
communities, enabling Pacoan features Paraguayan polka and
our members to maintain strong ties to our culture and heritage. chopo. The latter is a dance accompanied by Contact: Francisco Canata, Director
For the last 32 years, the group has performed in a myriad of events rang- singing in Guaraní, the native language spoken 703-470-9365
ing from presidential inaugurations to local school activities, diplomatic
functions, government celebrations of Hispanic Heritage Month, parades,
fairs and activities that help strengthen partnership and support for other
The cueca, originally the zamacueca or zambacueca, is the root of related genres in Chile, Peru, Bolivia,
community organizations. When not traveling, the group volunteers for a
and northern Argentina. After the War of the Pacific, in which Chile defeated Peru and Bolivia and
multitude of activities throughout the various communities of the Washington gained coastal territory at the expense of the others, the Peruvians changed the name of their cueca to
metropolitan area. marinera, in honor of the sailors who had fought against Chile. The marinera is now a national symbol of
Contact: Dr. Norma Small-Warren, Director
301-933-6764 GRUFOLPAWA welcomes any indi- Peru. Bolivia still has a cueca, which sounds much the Chilean version, while in Argentina the zamacueca
contact@grufolpawa.com vidual interested in the culture and folk- slowed down to become the wistful and melancholy zamba, played on the guitar and accompanied on
the deep-voiced bombo drum.
www.grufolpawa.com lore of Panama.
Folk Dance andMusical Tips
174 Folk Dance and Music Back Latino Cultural Guide Latino Cultural Guide Next Music 175
PERU PERU
Ballet Folklórico Grupo de The conga drums

of the rumba style
Ritmos del Perú Danza Mamauca

guaguancó, the
hand drums of the
Puerto Rican plena,
and several other
sets of drums used
T Mamauca means the mother goddess

he Ballet Folklórico Ritmos del Perú is di- in Latin America
music are not just
rected by Jackie Gamboa with the assistance any drums played
of José Alvarez, choreographers of the group's at the whim or
most proudly-presented dance pieces. The bal- inspiration of the
let is also a cultural institution and a dedicated performers. In
organization that strives to preserve Inca tradi- the standard
arrangement, a
tions through folkloric dance. large drum sets
Their mission is to work with Peruvians to the basic pattern, a
show their passion and true love within Latin medium-size drum
American and other communities, nationally and adds a contrasting
internationally. They work closely with a non- and faster pattern
that fits into the
profit organization in order to dedicate special at- first, and a small
tention to youth and help them maintain a health- drum servs as a
full environment, motivation, and morals. They lead instrument on
practice dances from the coast, the mountains, and Contact: José Alvarez, Manager which the performer
the rain forest regions of Peru, proud of their roots 240-423-3305 improvises a high
ritmosdelperu@yahoo.com "voice." However,
and giving generously for their country. in the case of Cuban
batá drums, shaped
like hourglasses and
played horizontally
Escuela de Danzas
on the musicians'
laps, it is the deeper,
large, drum that
"Chino Terrones”
leads, while the
smaller two drums
carry on a stacatto
photo: KENIA LOBO

pattern of higher-
T
frequency sounds.
he Escuela de Danzas "Chino Terrones," under the direction of its
founder José Terrones, National Champion of Northern Marinera
and Peruvian Dances, has been presenting Peru's folklore in the metro-
politan Washington area since 1999 and in countries like Japan, Austra-
lia and Argentina.
The group's mission is to make Peruvian folklore known internation-
T he Dance Group Mamauca was founded in 1977 by Enrique Barrueto, an
outstanding professional in the art.
Mamauca means the mother goddess in an African language. Now di-
ally at a high level and to promote Peru's national heritage. To meet rected by Elena Marcos, Mamauca has expanded its teachings in the U.S.,
these goals, it has opened schools in Maryland, Virginia, and the center with great success in the Washington area.
of Washington, offering classes in Peruvian folk genres and salsaero- Focusing on Afro-Peruvian dance, the group has broadened its repertoire
bics. Students range in age from 3 to 60 Contact: José Terrones, Director and now perfforms dances from the coast, the mountains, and the rain forest.
years old, from beginners to champions 703-221-6428 Composed of with young and talented children born to Peru-
in various contests held in Los Angeles, terrones@usa.com vians in the U.S., the group demonstrates that it is possible to Contact: Grisel Barrueto
New Jersey, Miami and California. www.chinoterrones.com carry on this marvelous Peruvian art. 240-821-8581
PERU puerto rico
Vicky Leyva y Sabor Negro Raíces de Borinquen

Bolivians gave her the nickname “The mulatta
flower of Peru,” a name that has stuck to this day
P eruvian singer Vicky Leyva performs tradi-
tional Afro-Peruvian rhythms with modern
arrangements. Accompanied by her own group,
Sabor Negro, which includes guitars, bass, and
modern and traditional Peruvian percussion,
Vicky's show is authentic and innovative. The
show may include popular Peruvian dances
such as landó, zamacueca, festejo and others.
For most music fans in the U.S., Peruvian music
means Andean panpipes, but it is broader than
that. While the African presence in such mu-
sical powerhouses as Brazil and Cuba are well
known, Peru's African legacy has only recently
gained major attention here.
Vicky began her professional career in her
native Peru as a dancer for the prestigious black
folkloric group “Perú Negro.” She launched her
singing career in 1980 at the Primer Festival de
la Canción de la Vendimia de Ica, and became
known as the “Creole Discovery of the Year.”
Vicky began appearing in various tourist venues
photo: KENIA LOBO
throughout Peru, recorded her first single, and in

1986 toured internationally. Bolivians gave her the
nickname “The mulatta flower of Peru,” a name
that has stuck to this day. She was part of the black
photo: JOSE SANCHEZ

musical group “Ebano y Marfil” (ebony and ivory) joined the cast of Gala Hispanic Theatre in several
until it disbanded. She then formed Vicky Leyva y productions, including Raíces Cubanas II, Puerto
su Sabor Negro. Rico En…cantado, Candombe, Tango Negro and
She promoted Afro-Peruvian music, joining the Latido Negro.
Francisco Congo movement, recognized in black Additional U.S. appearances include those at
communities throughout Latin America. Television
appearances in her native Peru include Danzas y Can-
ciones del Perú and “Noche de Gala Peruana.”
the Peruvian Festival in Miami, in Arlington, Va.,
and at the Organization of American States. Most
recently, she participated as a judge for “La Valentina
F ounded in 2002, Raíces de Borinquen was Washington, D.C.
incorporated as a non-profit organization in
2003.
The group represents, teaches, and dissemi-
nates our rich culture through the performance
1n 1999 she emigrated to the United States de Oro” in Miami and in New Jersey. Currently The Group’s mission is to promote the ap- of traditional Puerto Rican genres.
and became the promoter for Mendoza Produc- she performs in a variety of venues throughout the preciation and preservation of our Taíno In-
tions and a member of the Latin American Folk Washington metropolitan area. dian, Spanish, and West African roots
Contact: Eileen Alicea, Artistic Director
Institute. Since moving to the Washington area Contact: Vicky Leyva
and culture through the performance of
301-602-2460
she has been recognized as the “Best Peruvian 703-496-7208 Puerto Rican folkloric dances and music, admin@raicesdeborinquen.org
voice” in the area by Buenos días Perú and has www.vickyleyvadelperu.com particularly in Virginia, Maryland, and www.raicesdeborinquen.org
URUGUAY VENEZUELA
Candombe Forever
Striving to teach the extraordinary rhythms
of Uruguay to aspiring drummers of all ages
photo: KENIA LOBO

photo: gilberto meza
Tambores de San Juan

C andombe Forever has been sharing the spirit
of Uruguay with audiences throughout the
Candombe Forever strives to teach the ex-
traordinary rhythms of Uruguay to aspiring
The band blends Venezuelan folkloric
Washington area since 2004.
Candombe is both a rhythm and a dance
drummers of all ages. Candombe Forever has
attracted attention from well-respected per-
music with African percussion to bring
from Uruguay of African origin, mainly Bantu,
dominated by the sound of drums. As is com-
formers throughout the world, including Cachi-
la Silva, of C1080 Candombe Group and of the
an authentic and native sound
mon in African drum rhythms found in Latin
America, three drums of different sizes and
with different roles are used. Once considered
Candombe Tango Negro which played at Teatro
de la Luna during the Summer of 2004.
Candombe Forever has become a beloved
T ambores de San Juan is an Afro-Venezu- celebrated during the summer solstice, June 23
elan drumming band founded by Alexis to June 25. Minas and redondos (the former, a
Magdaleno and Carlos Infante at the end of very large wooden drum; the latter, smaller two-
improper, candombe was gradually accepted fixture at venues throughout the region, includ- 2004. The band blends Venezuelan folkloric headed drums) accompany the dances. On the
and played by Uruguayans of all walks of ing Karma Restaurant and Gallerie Michelle in music with African percussion to bring an au- 24th, after a night of celebrations, the statue of
life, especially during carnival. More than 200 2004, and was awarded a prize, together with thentic and native sound. the saint emerges from the house where it has
years young, the sound of drums still resonates a group of drummers and dancers representing Tambores de San Juan has performed at many been guarded and is taken in procession to a
in Montevideo and the rest of the nation, proof Uruguay, for Best Group at the Columbus Day different festivals in the D.C. area, such as the solemn mass. Afterwards, the saint is paraded
that candombe constitutes an integral part of Parade in New York City on October 12, 2004. Tacoma Park Festival and the Adams Morgan precariously through the streets amidst vivas
Uruguayan culture. Since then, Candombe Forever has played at Day Festival. They have also played for several and drum playing.
Contact: Miguel Giorgetta, Director events at the InterAmerican Development Bank, colleges and universities in the area. Contact: Carlos Infante, Director
202-210-3420 the Uruguayan Embassy and Latin festivals. Along Venezuela’s central Caribbean 240-643-7624
www.candombeforever.com coast, the feast day of San Juan Bautista is tamboresdesanjuan@hotmail.com
180 Theater Back Latino Cultural Guide Latino Cultural Guide Next Theater 181
FOTONOVELA
La familia Gómez
compra su primera
Our Theater
To promote stable
Casa
FOTONOVELA
homeownership, a project that’s

a part of our mission, LEDC uses
photographic illustrations similar
to those used in comic books.
As this bilingual booklet tells the
story of the Gomez family, recent
immigrants from Central America
living in Adams Morgan, and how
they purchased their first home
readers can learn how LEDC can
photo: COURTESY GALA THEATRE

help them overcome the hurdles
to build a strong financial future.
Popular Education from LEDC

LEDC performs bilingual, musical plays, called “teatro callejero” or street W ashington-area residents are fortunate to be able to enjoy the work of two
established theater companies that perform in Spanish and bilingually.
GALA Theatre and Teatro de la Luna, with 32 and 17 years of existence re-
theater, at outdoor festivals, telling the story of a family trying to improve
their housing situation. The characters, who share the experiences and STREET THEATER spectively, put on performances, sponsor special festivals, and offer workshops for
all interested persons. Their performances are normally translated using modern
languages of the audience members, learned the necessary information audio-visual systems. Both bring invited guests from Latin America and Spain
to purchase and maintain lively exchanges with other companies worldwide.
a home, The two companies cover the classic as well as modern theater of Spain, but
including the mainly present a variety of works that reflect the spectrum of histories and cultures
in Latin America and within the U.S. In fact, the companies have to consider the
services they
variety of flavors of Spanish and varying vocabularies in Latin America, similar to
could access the way that English varies in its use within the United Kingdom and in the U.S.
to help them and other former British colonies.
along the In some places, Spanish sounds much as it does in Spain—or parts of Spain—
way. As the but in others it is noticeably marked by indigenous and African accents and vo-
characters cabularies and by other cultural influences. Because the performers come from
learn, so does different countries and further must take on characters that speak various kinds of
Spanish, putting on a play becomes a task far more complicated than the general
the audience.
description of "bilingual theater" conveys. Some of GALA's performances have
also involved Caribbean English and Spanglish.
(202) 588-5102• www.ledcdc.org

GALA Theatre
Founded in 1976, GALA Hispanic Theatre

has long been a groundbreaking and energetic
"theater with a different accent," presenting
classical and contemporary plays in Spanish and
English, dance, music, poetry, spoken word, art
and, more recently, film. In January 2005, after
29 years of performing in successive temporary
venues, GALA moved into its permanent home
in the historic and newly-renovated Tivoli, and
established itself as a national center for Latino
performing arts. Fulfilling the dream of GALA
founders Hugo and Rebecca Read Medrano and
their legion of supporters, the move heralded a
new era in their crusade to preserve and pro-
mote Hispanic language and culture.
GALA sprang indirectly from Teatro Doble
(Double Theater), a bilingual children's theater
working out of Back Alley Theater in Washing-
ton. In the early to mid-1970s, Teatro Doble
was the only Washington theater catering to Raoul N. Rizik and Leonor Chávez in “The Kidnapping (Crónica de un secuestro), 1984.
Spanish-speaking audiences. Hugo Medrano,
Rebecca Read, and other Latino performers tines, Mexicans, Spaniards, Chileans, Uruguay-
with Teatro Doble talked about forming a His- ans, Venezuelans, Paraguayans, Peruvians, and
panic theater that would fill the cultural void so on. As a result, GALA has had to respond to
and embrace a larger audience. issues and concerns of the Latino world at large.
Before long, GALA (Grupo de Artistas La- For GALA, the unification of its audience has
tino Americanos/Group of Latin American Art- been a paramount objective.
ists) was born. GALA has become what many "GALA is not Spanish, nor Argentine, nor
consider the country's leading Spanish-language Puerto Rican," Hugo Medrano has said. "It is
photoS: COURTESY GALA THEATRE
theater, winning a loyal following and scores of Latino in the fullest sense." As such, every sea-
awards. Unlike some areas in the United States, son, GALA includes productions that appeal to
Washington has never been representative of a wide range of nationalities and backgrounds.
one predominant Hispanic Contact: Hugo Medrano, Director; Rebecca Read, Director
culture. GALA's princi- 202-234-7174
pal audience as well as its info@galatheatre.org
actors, have been Argen- www.galatheatre.org Abel López (left), Associate Director; Rebecca Read, Managing Director; and Hugo Medrano, Artistic Director.
Teatro de la Luna
Performances are presented in Spanish, with
English subtitles or live English dubbing
offered at the main stage productions
photoS: COURTESY TEATRO DE LA LUNA
Teatro de la Luna was founded in 1991 with Teatro de la Luna advances its mission by pro-
the intent of providing the Washington capital areaducing plays, holding theater workshops for adults
with permanent access to theater from a Latin and children, organizing poetry marathons such as
American perspective. The company performs at the Young People's Poetry Marathon in Spanish,
the Gunston Arts Center in Arlington, Virginia and and producing International Festivals of Hispanic
at Casa de La Luna in Washington, as well as in Theater including La Pluma (The Quill) y La Pa-
various other venues and in suburban Maryland. labra (The Word). These activities give people
Performances are presented in Spanish, with from different backgrounds an opportunity for
English subtitles or live English dubbing offered community dialogue, participation, reflection and
at the main stage productions. support.
Promoting Hispanic culture and fostering The vision of Teatro de la Luna is that of a
cross-cultural understanding between the Spanish- functioning theater that trains Hispanic and non-
and English-speaking communities of our region Hispanic actors as well as theater technicians ea-
through Spanish-language theater and bilingual ger to show their talents, while providing a bilin-
theatrical activities is a dream come true for the gual theater with related workshops and camps for
theater's founders. children and teens to promote the romance, charm
Left: Anabel Marcano and Peter Pereyra interpret “Frida Kahlo, The Passion”at Gunston Arts Center in Arlington.
Contact: Mario Marcel, Artistic Director; Nucky Walder, Producer and richness of the Picture by Raymond Gniewek; other pictures courtesy of Teatro de la Luna.
202-882-6227, 703-548-3092 Spanish language. Above: Marcela Ferlito Walder plays the principal role in “The Adventures of Pinocchio.”
www.teatrodelaluna.org
Below: Harps of the Americas Concert.

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Fiesta DC’s Fiesta DC’s

Front Cover (clockwise): General view of Gala Theatre at the Tivoli, in

About This Guide

Page 1: Dancer at the Caribbean Festival in D.C.

Photo Credits: Most of the photos

GOVERNMENT OF THE DISTRICT OF COLUMBIA

From the Chairman

Board Chair & President Adrian M. Fenty Mercedes Lemp

It is my pleasure to welcome this first edition of Fiesta DC’s

I hope that this introduction to Latin American and

Congratulations to the Board of Directors and staff

Dear Fiesta DC:

For Washington, DC to become a world-class city, it must incorporate the array of

Ana Recio Harvey

I n 1997 a group of activists re-established in Washington, D.C., the Centro de

Our Music and Folklore The Andes

Coral Cantigas Pan American

photo: JOSE SANCHEZ

The first Latin

Brazil, the sixth most-

photo: CHRIS SMITH

into a salsa dance party. Led by Salvadoran

On the radio and on the road, Furia Band

Gato + the Palenke

T he band was founded in 1990 by Camilo

unique band. Musicians from a wide variety of

Joe Falero and DC Latin La Kumbia

Above: Joe Falero,

Los Grandes de El Vallenato

Luz de Luna MelazaJazz

cumbia, reguetón gratulated by Poncho Sánchez in one of their

Miguel Chacaltana y Grupo

Contact: Gregory Wierzynski, Artistic Director

Contact: Joey Carrasquillo, Manager

Onda Mix Orquesta La Romana

Contact: Rafael Cruz, Director

Orquesta Verny Varela

F ounded in 2003. Verny Varela is an arranger,

Oscar Allauca y su Grupo

Pan Masters Steel Orchestra

to Virginia, Washington, and Maryland

Pablo Antonio y La Firma

F ounded in 1999, this 12-piece band, based

photo: BERNALDO BALD

photo: ALFONSO AGUILAR

Rudy González y Rumba Club

The use of violins

Sol y Rumba Band

At the center of the

The Latin Sound Band Tropikiimba

Contact: Johnny Valencia, Manager

The Best Live Music or mountainous

The brothers now boast a number of special civilizations made

appearances under their belts, including a cold, dry, windy

once-in-a-lifetime showdown at the Latin Grammys

T he best parties always happen at the beach.

Zeniza All Star

E nrique Araujo, director and founder of the

2701 Ontario Rd., NW, Washington DC, 20009.

T he musical influences of Spain in America (the

photo: TONY BROWN

T he duo was founded by the brothers Cesar

photo: ARCADIA CREATIVE

Accompanied by a live guitarist,