This week the PBS Newshour has been broadcasting a series of reports about the Cuban economy and healthcare system.
For a country that gets such little play in the media, this is some major exposure.
For more PBS videos in this Cuba Series check here
Thursday, December 23, 2010
Thursday, December 16, 2010
Boogaloo Music Documentary
Boogaloo to Salsa Clips from Mathew Warren on Vimeo.
My first exposure to Latin music is when I heard American Latin-Soul (Boogaloo) music on the radio in the mid 1960's with songs like Watermelon Man, El Watusi, and Manteca. That music got my attention as it was rhythmically exotic like no other music I had heard was. That first exposure stuck with me through the years and when I needed a name for my video production company I hit on Boogalu - a combination of the American spelling "Boogaloo" and the Latin spelling "Bugalú"
Here is some footage of a wonderful documentary to be released.
I have also been looking for video of Boogalu dancing for a long time. There are some small clips here a 1:47.
Documentary description:
A collection of clips from interviews for a documentary by Mathew Warren on about Latin music in New York from 1965-70, featuring Joe Bataan, Larry Harlow, Johnny Colon, Joey Pastrana, Richie Ray, Harvey Averne, Jimmy Sabater, Pucho Brown, Bobby Marin, Nicky Marrero, Kent Gomez and Jose Mangual Jr.
The Boogaloo Assassins Perform "El Pito"
The Boogaloo Assassins Perform "El Pito" from Mathew Warren on Vimeo.
Cuban-Jewish Allstars
I don't know quite how to explain it, but this will do... because of an ancient common tribal-genetic factor, there is a plethora a Jewish guys and gals into Afro-Cuban and Latin Music, myself included. The purest expression of that now is the "Cuban-Jewish Allstars" directed by Roberto Juan Rodriguez. Check out this guaguanco descarga filmed somewhere in Europe. They have 7 videos on youtube filmed at the same concert and they all are great.
Friday, December 10, 2010
SF Cuban Salsa-Rueda Festival 2/17-20/2011
This is the best Cuban Salsa-Rueda-Casino Festival in North America. Boogalu will be there with our full layout. The hotel venue is really nice and old fashioned. Casineros from all over the world will be there.
To register or for more info go to www.salsaruedafestival.com
Where is the full rundown:
* 50 Intermediate and Advanced Workshops in Rueda, Casino, Son, Afro-Cuban Folkloric and more
* 4 nights of parties with 3 Live Timba Bands, 4 DJ's, and Dance Performances
* A Beginners Track in a full ballroom with two hour classes with the same teacher.
* Instructors Track. A seperate class for the teachers and the T.A.s in the Casino community. Participation is subject to meeting the requirements.
* 2 more class spaces, 4 - 5 classes to choose from every hour. Beginners Track, 2 Int level ballrooms, 1 Advanced level ballroom and the Instructors track.
* After-Party Space with DJ. Party till 5 in the morning
* Private Lesson Area. Book with your favorite instructor, more information coming soon.
* February 16th - Nick's Birthday Celebration - come one day early and help celebrate Nick's 40th. Venue and entertainment line-up coming soon. That means 5 days of the best Timba , Salsa and Casino parties.
Fabulous Rueda Video from Santiago
While the group is not identified, this Youtube video features a troupe of young dancers from Santiago de Cuba performing a 5 min. rueda (circle) and suelta (line) choreography that includes rumba, son, orisha, and caberet moves, plus some original combinations. It is rare to find a Cuban dance video of this quality on Youtube.
Quenching the Thirst of Latinos
email from Mario Palomo
Para mi hermanos Cubanos de Boogalu ~
La vida sin música no tiene sentido de ser. Gracias por abrir los ojos y calmar la sed de los latinos.
Que sentimos el bellísimo murmullo musical que proviene de esa bella Isla Cubana. El sonido del tambor y el misterioso secreto de su clave, es como un oasis escondido en el lugar mas remoto de un desierto.
El sonido se nos penetra desde los huesos y nos llega hasta el alma. Gracias, muchísimas gracias por compartirle al mundo esa Cultura tan sagrada.
_________________________________________________
To my Cuban brothers at Boogalu ~
Life without music has no sense of self. Thank you for opening eyes and quenching the thirst of Latinos.
We feel the beautiful musical murmur from of that beautiful island of Cuba. The sound of drum and mysterious secret of the clave is like a hidden oasis in the most remote desert.
The sound penetrates us from the bones and it comes to the soul. Thank you, thank you to share with the world so sacred a culture.
Para mi hermanos Cubanos de Boogalu ~
La vida sin música no tiene sentido de ser. Gracias por abrir los ojos y calmar la sed de los latinos.
Que sentimos el bellísimo murmullo musical que proviene de esa bella Isla Cubana. El sonido del tambor y el misterioso secreto de su clave, es como un oasis escondido en el lugar mas remoto de un desierto.
El sonido se nos penetra desde los huesos y nos llega hasta el alma. Gracias, muchísimas gracias por compartirle al mundo esa Cultura tan sagrada.
_________________________________________________
To my Cuban brothers at Boogalu ~
Life without music has no sense of self. Thank you for opening eyes and quenching the thirst of Latinos.
We feel the beautiful musical murmur from of that beautiful island of Cuba. The sound of drum and mysterious secret of the clave is like a hidden oasis in the most remote desert.
The sound penetrates us from the bones and it comes to the soul. Thank you, thank you to share with the world so sacred a culture.
Monday, September 22, 2008
Cuban Salsa-Casino - How is it different and unique
by Philip de Boogalu
Here is some ideas and concepts about what characterizes casino (what Cuban's call salsa) from other salsa styles. The idea is to provide some pointers for people wanting more information on this form and to suggest that casino is not just a cool style of dance moves, but an expression of a living tradition that is intimately related to the music, culture, and history of Cuba.
This article is not meant to be definitive, but a work in progress, and will be revised as we get input from the dance community.
Some things that demonstrate good casino style and culture:
Technique & Style
1) Posture - casineros dance with bent knees and slightly bend forward, not to erect. This is the basic position, ready for action. Football players and all sports people know this one.
2) In casino, couples dance very close together when they are in ballroom position in contrast to other salsa styles.
3) The basic step or holding pattern for couples is the guapea (the together and apart step), not the forward and back step, sometimes called the mambo step.
4) Because casineros dance with smaller steps, bent knees, and lower to the ground, they naturally generate good hip movement... that distinctive Cuban motion. They also are not shy in moving their bodies, shoulders, legs and feet from side to side and diagonal... a very Afro styling.
5) The direction of movement when couples are doing turns tends to be in a circle, not linear or in a slot.
6) A series of turns will often begin and end with a cross body lead known as "dile que no".
7) The general body movement in casino is often characterized by fluid combinations of turns between couples using a lot of arm work, with a minimum of spins or shines (foot or hand gestures).
8) Foot tapping during the dance pauses (step, step, step, pause/tap) is typical in casino dancing but a dancer may tap for some moves and not for others. Also when one dances faster, as in a lot of modern timba music, you don?t have time to tap.
Music & Culture Tie-Ins
9) In modern casino dancing, couples often break apart for a time to groove on their own when the music goes into a heavy percussion and bass breakdown riff. This is know as "despelote" (gyrating hips and arms) or "trembleque" (whole body trembling). This trend has connections with apart dancing typical in African dance, Afro-Cuban ceremonial dances, and American rock and roll. These forms are all related.
10) There is a tendency in casino dancing in Cuba for men taking the "star" role or showing off themselves instead of showing off the woman... latino machismo in action.
11) Cubans not only dance casino in male/female partners, but have forms that are communal such as:
- rueda de casino: several couples dancing in a circle with a leader calling the moves
- trios and cuartetos de casino: one man dancing with two or three woman
- casino suelta: many people line dancing with a leader calling the moves.
12) Casino dancing has moves and style influenced by the folkloric tradition in Cuba like rumba and orisha dance, as well as from other popular dances such as the son and mambo. For example, shoulder shaking and stylized footwork is very typical in casino as well as rumba.
13) Casineros in Cuba tend to listen to the music or their partner for ideas or inspiration about movement. They tend not to execute moves just because they know all kinds of great moves.
14) Turns and combinations of turns are usually identified by colorful Spanish names that characterize or describe the movement, for example: the call "setenta or 70" refers to a period in Cuba in the 1970's when casino dancing first started and when many of the moves were invented. Another fun name is the crotch to crotch move called "yogur" meaning yogurt... that implies its yummy good.
15) Casineros as well as Cuban musicians tend to listen to the "clave" (the 5 note repeated key rhythmic pattern) in the music, to orient themselves to the rhythm and timing.
16) Cuban dancers don't conceive of dancing or breaking on "1" or on "2". They use the terms - dancing "a tiempo" or "contra tiempo" (with time or against time) or dancing with "the melody" or with "the clave". Faster timba music is usually danced "a tiempo". Slower music like son is danced "contra tiempo". Dancers orient themselves to the "clave" in the music, or to specific instruments that play the "tumbao" (repeated rhythmic pattern accenting beats 2+ and 4) such as the bass or conga.
17) Cubans tend not to use a generic term like "salsa" to identify their popular dance or music. They distinguish between their dances as they invented many of them including: danzon, son, changui, mambo, cha cha cha, pilon, mozambique, conga, and casino. Many Cubans say that casino dance or timba music is just the modern style of Cuban son.
Feel free to contact Boogalu with any feedback you may have on this article.
For a fuller understanding of the music of modern casino dancing read this groundbreaking article by Kevin Moore of Timba.com "Reelin' in the Gears"
Here is some ideas and concepts about what characterizes casino (what Cuban's call salsa) from other salsa styles. The idea is to provide some pointers for people wanting more information on this form and to suggest that casino is not just a cool style of dance moves, but an expression of a living tradition that is intimately related to the music, culture, and history of Cuba.
This article is not meant to be definitive, but a work in progress, and will be revised as we get input from the dance community.
Some things that demonstrate good casino style and culture:
Technique & Style
1) Posture - casineros dance with bent knees and slightly bend forward, not to erect. This is the basic position, ready for action. Football players and all sports people know this one.
2) In casino, couples dance very close together when they are in ballroom position in contrast to other salsa styles.
3) The basic step or holding pattern for couples is the guapea (the together and apart step), not the forward and back step, sometimes called the mambo step.
4) Because casineros dance with smaller steps, bent knees, and lower to the ground, they naturally generate good hip movement... that distinctive Cuban motion. They also are not shy in moving their bodies, shoulders, legs and feet from side to side and diagonal... a very Afro styling.
5) The direction of movement when couples are doing turns tends to be in a circle, not linear or in a slot.
6) A series of turns will often begin and end with a cross body lead known as "dile que no".
7) The general body movement in casino is often characterized by fluid combinations of turns between couples using a lot of arm work, with a minimum of spins or shines (foot or hand gestures).
8) Foot tapping during the dance pauses (step, step, step, pause/tap) is typical in casino dancing but a dancer may tap for some moves and not for others. Also when one dances faster, as in a lot of modern timba music, you don?t have time to tap.
Music & Culture Tie-Ins
9) In modern casino dancing, couples often break apart for a time to groove on their own when the music goes into a heavy percussion and bass breakdown riff. This is know as "despelote" (gyrating hips and arms) or "trembleque" (whole body trembling). This trend has connections with apart dancing typical in African dance, Afro-Cuban ceremonial dances, and American rock and roll. These forms are all related.
10) There is a tendency in casino dancing in Cuba for men taking the "star" role or showing off themselves instead of showing off the woman... latino machismo in action.
11) Cubans not only dance casino in male/female partners, but have forms that are communal such as:
- rueda de casino: several couples dancing in a circle with a leader calling the moves
- trios and cuartetos de casino: one man dancing with two or three woman
- casino suelta: many people line dancing with a leader calling the moves.
12) Casino dancing has moves and style influenced by the folkloric tradition in Cuba like rumba and orisha dance, as well as from other popular dances such as the son and mambo. For example, shoulder shaking and stylized footwork is very typical in casino as well as rumba.
13) Casineros in Cuba tend to listen to the music or their partner for ideas or inspiration about movement. They tend not to execute moves just because they know all kinds of great moves.
14) Turns and combinations of turns are usually identified by colorful Spanish names that characterize or describe the movement, for example: the call "setenta or 70" refers to a period in Cuba in the 1970's when casino dancing first started and when many of the moves were invented. Another fun name is the crotch to crotch move called "yogur" meaning yogurt... that implies its yummy good.
15) Casineros as well as Cuban musicians tend to listen to the "clave" (the 5 note repeated key rhythmic pattern) in the music, to orient themselves to the rhythm and timing.
16) Cuban dancers don't conceive of dancing or breaking on "1" or on "2". They use the terms - dancing "a tiempo" or "contra tiempo" (with time or against time) or dancing with "the melody" or with "the clave". Faster timba music is usually danced "a tiempo". Slower music like son is danced "contra tiempo". Dancers orient themselves to the "clave" in the music, or to specific instruments that play the "tumbao" (repeated rhythmic pattern accenting beats 2+ and 4) such as the bass or conga.
17) Cubans tend not to use a generic term like "salsa" to identify their popular dance or music. They distinguish between their dances as they invented many of them including: danzon, son, changui, mambo, cha cha cha, pilon, mozambique, conga, and casino. Many Cubans say that casino dance or timba music is just the modern style of Cuban son.
Feel free to contact Boogalu with any feedback you may have on this article.
For a fuller understanding of the music of modern casino dancing read this groundbreaking article by Kevin Moore of Timba.com "Reelin' in the Gears"
Why do I travel to Cuba?
by Philip de Boogalu
This is a big subject. In attempting to answer I thought it best to talk about a specific “Cubaism” that is emblematic of the vitality of life on this unique island. Out of all myriad possibilities I hit on the practice of hitchhiking in Cuba.
In my youth I was a serious hitchhiker. Often hitchhiking from San Francisco to Vancouver and back. I had great experiences. This was in the 1970’s in the United States when life was a little different. Today, hitchhiking in the US is not a viable mode of transportation because there are so many crazies roaming the roads. In contrast, hitchhiking in Cuba is everywhere. Why is there so much hitchhiking? The simple answer is because it is safe, with much fewer crazies. The deeper reasons touch on the beauty of the Cuban society and why I like going there.
In Havana the largest segment of the population that hitchhikes are women. They hitchhike to get around town, to go to work, to shop. You will always see groups of women at the major intersections gesturing for a ride.
A little background will help here. In Cuba, most people do not own cars because they can’t afford them, and the people that do have cars (often men) are open, when they can, to give women a ride. Moreover, hitchhiking is encouraged by the Cuban government to help deal with the lack of adequate public transportation.
So there are these men drivers and women hitchhikers. In the United States this would be a dangerous and unheard of combination. In Cuba, it is no big deal. It’s all part of “life on the street” where you can walk up to just about anyone and talk to them without feeling strange. One reason why this works is because most people in Cuba are in the same economically challenged social class. Another reason is: the men drivers enjoy the female company, and the women appreciate the ride. The sexual tension that may occur in these interactions is also the norm in Cuban culture. Sexual energy and sensuality is in the air always and is celebrated. This innate sensuality of the culture means much less repressed feelings and disrespectful behavior. For women in the street, they learn at a young age to deal with the realities of male behavior in a relatively safe environment. As a result Cuban women generally mature earlier then their North American counterparts.
More central then the gender dynamics, this pattern of hitchhiking in Cuba reflects a consciousness shared by most Cuban’s about the value of community and helping each other out. These values are, in part, a legacy of the spirit inspired by the Cuban Revolution and to the island’s profound connection to traditional Spanish and African cultures. As a result Cuba is one of the few countries in the World that has not bought into hyper-materialism. Hitchhiking in Cuba is a manifestation of a society that is largely people and culture oriented. This is why I go and will keep going.
This is a big subject. In attempting to answer I thought it best to talk about a specific “Cubaism” that is emblematic of the vitality of life on this unique island. Out of all myriad possibilities I hit on the practice of hitchhiking in Cuba.
In my youth I was a serious hitchhiker. Often hitchhiking from San Francisco to Vancouver and back. I had great experiences. This was in the 1970’s in the United States when life was a little different. Today, hitchhiking in the US is not a viable mode of transportation because there are so many crazies roaming the roads. In contrast, hitchhiking in Cuba is everywhere. Why is there so much hitchhiking? The simple answer is because it is safe, with much fewer crazies. The deeper reasons touch on the beauty of the Cuban society and why I like going there.
In Havana the largest segment of the population that hitchhikes are women. They hitchhike to get around town, to go to work, to shop. You will always see groups of women at the major intersections gesturing for a ride.
A little background will help here. In Cuba, most people do not own cars because they can’t afford them, and the people that do have cars (often men) are open, when they can, to give women a ride. Moreover, hitchhiking is encouraged by the Cuban government to help deal with the lack of adequate public transportation.
So there are these men drivers and women hitchhikers. In the United States this would be a dangerous and unheard of combination. In Cuba, it is no big deal. It’s all part of “life on the street” where you can walk up to just about anyone and talk to them without feeling strange. One reason why this works is because most people in Cuba are in the same economically challenged social class. Another reason is: the men drivers enjoy the female company, and the women appreciate the ride. The sexual tension that may occur in these interactions is also the norm in Cuban culture. Sexual energy and sensuality is in the air always and is celebrated. This innate sensuality of the culture means much less repressed feelings and disrespectful behavior. For women in the street, they learn at a young age to deal with the realities of male behavior in a relatively safe environment. As a result Cuban women generally mature earlier then their North American counterparts.
More central then the gender dynamics, this pattern of hitchhiking in Cuba reflects a consciousness shared by most Cuban’s about the value of community and helping each other out. These values are, in part, a legacy of the spirit inspired by the Cuban Revolution and to the island’s profound connection to traditional Spanish and African cultures. As a result Cuba is one of the few countries in the World that has not bought into hyper-materialism. Hitchhiking in Cuba is a manifestation of a society that is largely people and culture oriented. This is why I go and will keep going.
Saturday, December 8, 2007
Boogalu DVDs in Iraq
email from:
SSG Luis Cruz AKA Salseronegro
Pablo Racheal, Noah, Barranco, Lugo, Cruzito, Leon, Odunator.
Known as the Ramadi Rumbero's OEF class of Aug 2005.
"My unit, the United States Army 2nd Infantry Division 2-17 Field Artillery Battalion out of Camp Hovey, Korea 20 miles from the DMZ (demilitarized zone-North Korea) was sent to Ramadi a province in the western part of Iraq known as the Sunni Triangle.
It was not easy for us but we hung in there. I then felt like I could build morale by teaching salsa. To make a long story short salsa started and the lessons grew and before you knew it Army, Marines, Air-Force, Navy, civilians and Iraqi nationals were in my class dancing when we could in between the sad and fearful times.
Your Boogalu videos that I had with me were enjoyed by so many people. It would take us away to a place of comfort and happiness. All we talked about was going home and showing what we had learned during our war time in Iraq. In closing I would like to say thanks for your wonderful dance DVD's they helped us get through some tough times."
SSG Luis Cruz AKA Salseronegro
Pablo Racheal, Noah, Barranco, Lugo, Cruzito, Leon, Odunator.
Known as the Ramadi Rumbero's OEF class of Aug 2005.
"My unit, the United States Army 2nd Infantry Division 2-17 Field Artillery Battalion out of Camp Hovey, Korea 20 miles from the DMZ (demilitarized zone-North Korea) was sent to Ramadi a province in the western part of Iraq known as the Sunni Triangle.
It was not easy for us but we hung in there. I then felt like I could build morale by teaching salsa. To make a long story short salsa started and the lessons grew and before you knew it Army, Marines, Air-Force, Navy, civilians and Iraqi nationals were in my class dancing when we could in between the sad and fearful times.
Your Boogalu videos that I had with me were enjoyed by so many people. It would take us away to a place of comfort and happiness. All we talked about was going home and showing what we had learned during our war time in Iraq. In closing I would like to say thanks for your wonderful dance DVD's they helped us get through some tough times."
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