Rumba

Please--do not wake me up—Please! I am still in a nice-nice dream traveling around AfroCuba! I am still listening and dancing to voices, instruments and rhythms of AfroCuba Music (AfroCuba Al-Stars, Celia Cruz, Buena Vista Social Club, Omara Portuondo, Tito Puente & Eddie Palmieri, Orisha Drums and Spirits Body movements)—my Heart is still trembling and Spirit is still Rising! Got—Hit Sweetly, Softly and Spiritually in AfroCuba like in Afro Brazil--Bahia—and in Cameroun, West Africa—(: Smile

Cuban music was changed dramatically over the years; Its humble beginnings began with sheet music to piano rolls in Havana, a stylistic change was coming. Although different genres such as criolla, cancion and danzon were considered very much the epitome of Cuban expression. The new movement of Afrocubanismo influenced everything from music, poetry and paintings. At first they were very much influenced by Western Europe art songs and classically trained singers. The working class and others like

whole lot of land from Mexico down Venezuela and even consisting of the Caribbean islands of Cuba, Jamaica, Haiti, and the Dominican Republic. With this transculturation came various genres of music including mariachi, sones, banda, norteno, punta, rumba, guaracha and many more. Not only this, but

Joselito is the most representative character of the Barranquilla Carnival, symbol of joy and celebration, that after four days of intense rumba, he dies. His body is cried and buried symbolically by the happy widows who shared with him his days of rumba. The funeral of Joselito is a symbolic farewell "to the meat". There is not a single Joselito for the whole city, but anyone can get one and walk the streets. This practice is widespread and is

The Gypsy Kings is a Catalan rumba and rock band founded in Arles France in 1978 by musicians Nicolas Reyes and Tonino Baliardo. Though all of the band members were born in France their parents were from Catalonia Spain and fled during the Spanish civil war in the 1930s and as a result their upbringing is largely influenced by Spanish culture which is reflected in their music. Nicolas Reyes, the son of acclaimed flamenco musician Jose Reyes founded the band with his two sons and his cousins Maurice

Reaction paper of the film Take the Lead Take the lead is based on a true story, the movie tells us of the struggle of a dance teacher, Pierre Dulain. It is the real story of a dance teacher who believed in the talent of a group of problem kids. This film not only gives us a fun and relaxation but it also gives us knowledge about modern dancing and model dancing. Not only that, the film gives us the morality as teacher. How relationship between teacher and student should be in school

“¡Qué rico bailo yo!” which translates to “How well I dance!” is the epitome of the confidence and spirit of Cuban music . In order for a person to understand the rhythm and beat of Cuban music, one must first understand Cuban’s history. In the 16th century, Cuba was colonized by the Spanish in order to grow sugar and tobacco for the mother country, Spain. At first, the Spanish used the native people to grow the cash crops but the natives could not withstand the harsh working conditions and soon

Cuban artist Wilfredo Lam, a representative voice of Cubism and revivalist of the Afro-Cuban spirit and culture, proceeds in a cyclic procession of rapid phrases and intriguing pulses. Fairly dreamy, “Yambú” is a beautiful dismantlement of a Cuban rumba assembled into an evergreen musical inspiration whose low voicings and high-pitch trills are sensationally tone-controlled. The longest piece on the record, at nearly 11 minutes, is “Cuban Cubism”, which echoes with suspenseful atmospheres, assimilating

Like the majority of plays, stage directions play an important role in bringing the audience into the play; it helps the readers imagine the scenery. ‘A Streetcar Named Desire’ by Tennessee Williams uses stage directions to bring the play to life, but also shows the physical and emotional perspectives of the characters through them as well. The stage directions of this specific play does more that just help imagine a scene; it also symbolizes characters emotions and in some scenes and parts the stage

Congolese guitarist, singer, bandleader and composer Francois Luambo Makiadi (Franco) “the sorcerer of the guitar” was 20th century Africa’s most important musician; he was the greatest. My opinion is amply supported by the recent release of two double CD retrospectives Francophonic Volume 1(1953-1979) & 2 (1980-1989). The sets demonstrate Franco’s amazing longevity, prolificacy, and innovation. From 1950 until his death in 1989, he record over a thousand songs, created a dominate style of African