BABY LOVES SALSA
TEACHER RESOURCE GUIDE 2010–2011
UMS 10-11
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SUPPORTERS
The Andrew W. Mellon Foundation University of Michigan Anonymous Arts at Michigan Arts Midwest’s Performing Arts Fund The Dan Cameron Family Foundation/Alan and Swanna Saltiel CFI Group Community Foundation for Southeast Michigan Doris Duke Charitable Foundation Endowment Fund DTE Energy Foundation The Esperance Family Foundation David and Jo-Anna Featherman Forest Health Services David and Phyllis Herzig Endowment Fund JazzNet Endowment W.K. Kellogg Foundation John S. and James L. Knight Foundation Masco Corporation Foundation Michigan Council for Arts and Cultural Affairs THE MOSAIC FOUNDATION [of R. & P. Heydon] National Dance Project of the New England Foundation for the Arts National Endowment for the Arts Prudence and Amnon Rosenthal K-12 Education Endowment Fund PNC Bank Target TCF Bank UMS Advisory Committee University of Michigan Credit Union University of Michigan Health System U-M Office of the Senior Vice Provost for Academic Affairs U-M Office of the Vice President for Research Wallace Endowment Fund
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This Teacher Resource Guide is a product of the UMS Youth Education Program. UMS thanks Matthew Mejia, Linda Grekin, Jose Conde, Pam Reister, the University of Michigan Museum of Art, and Omari Rush for their feedback and support in developing this guide.
BABY LOVEs SALSA Monday, January 31, 2011 • 10 AM - 11AM and 12 NOON - 1 PM • LYDIA MENDELSSOHN THEATRE
UMS Y outh E ducatio n P rogram
TEACHER RESOURCE GUIDE 2010–2011
UMS 10-11
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TA B L E O F C O N T E N T S
Short on time? If you only have 15 minutes to review this guide, just read the sections in black in the Table of Contents. Those pages will provide the most important information about this performance.
Attending the YOUTH PERFORMANCE 6 Coming to the Show 8 Map + Directions 9 Lydia Mendelssohn Theatre 10 Being an Audience Member ABOUT SALSA 12 What is Salsa? 15 Big Names in Salsa 16 Percussion in Focus
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BABY LOVES SALSA 20 Ensemble Story 22 Individual Bios 24 Repertoire 26 Visual + Performing Artists RESOURCES 29 National Standards 30 Curriculum Connections 32 Additional Resources
ABOUT UMS 46 What is UMS? 47 Youth Education Program 49 Contacting UMS
AT T E N D I N G T H E YOUTH PERFORMANCE
UMS 10-11
www.babylovessals
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D E TA I L S
COMING TO THE SHOW We want you to enjoy your time with UMS! PLEASE review the important information below about attending the Youth Performance:
TICKETS TICKETS We do not use paper tickets for
DOOR ENTRY A UMS Youth Performance
DURING THE PERFORMANCE At the
Youth Performances. We hold school reserva-
staff person will greet your group at your bus
start of the performance, the lights well
tions at the door and seat groups upon arrival.
as you unload. You will enter through the
dim and an onstage UMS staff member will
main entrance (south) of the League Building.
welcome you to the performance and provide important logistical information. If you have any questions, concerns, or complaints (for instance, about your comfort or the behavior
ARRIVAL TIME Please arrive at Mendelssohn
USHER
of surrounding groups) please IMMEDIATELY report the situation to an usher or staff member in the lobby.
between 9:30-9:50am for the 10:00am Youth Performance and 11:30-11:50am to allow you
SEATING & USHERS When you arrive at
time to get seated and comfortable before the
the front doors, tell the Head Usher at the
show starts.
door the name of your school group and he/ she will have ushers escort you to your block of seats. All UMS Youth Performance ushers
PERFORMANCE LENGTH One hour
wear large, black laminated badges with their
(approximately) with no intermission
names in white letters.
DROP OFF Have buses, vans, or cars drop off students on westbound (north) side of North University Avenue in front of the Michigan League Building. If there is no space in the
AFTER THE PERFORMANCE When the
drop off zone, circle the block until space
performance ends, remain seated. A UMS
becomes available. Cars may park at curbside metered spots or in the visitor parking lot
BEFORE THE START Please allow the usher
staff member will come to the stage and
behind the power Center. Buses should wait/
to seat individuals in your group in the order
release each group individually based on the
park at Briarwood Mall.
that they arrive in the theater. Once everyone
location of your seats.
is seated you may then rearrange yourselves and escort students to the bathrooms before the performance starts. PLEASE spread the adults throughout the group of students.
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UMS 10-11
BUS PICK UP When your group is released,
SENDING FEEDBACK We LOVE feedback
ACCESSIBILITY There is a barrier free access
please exit the performance hall through the
from students, so after the performance please
located at the North University entrance to
same door you entered. A UMS Youth Perfor-
send us any letters, artwork, or academic
the building, with elevator access to the main
mance staff member will be outside to direct
papers that your students create in response
floor of the theater level. Wheelchair seating is
you to your bus.
to the performance: UMS Youth Education
available on the rear of the main floor.
Program, 881 N. University Ave., Ann Arbor,
AAPS
MI 48109-1011.
assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
AAPS EDUCATORS You will likely not get on the bus you arrived on; a UMS staff mem-
ENTRANCES + ELEVATORS The Lydia
ber or AAPS Transportation Staf person will put you on the first available bus.
Lydia Mendelssohn Theatre is equipped with
NO FOOD No Food or drink is allowed in the theater.
Mendelssohn Theatre is located in the Michigan League Building on the University of Michigan’s central campus. The main entrance is off of North University, in front of the Michigan League Building. Elevators for access to the both the Main Floor and Balcony are located in the middle of the Michigan League
LOST STUDENTS A small army of volunteers staff Youth Performances and will be
PATIENCE Thank you in advance for your
ready to help or direct lost and wandering
patience; in 20 minutes we aim to get 620
students.
people from buses into seats and will work as
along the main hallway.
efficiently as possible to make that happen.
LOST ITEMS If someone in your group loses an item at the performance, contact the UMS Youth Education Program (umsyouth@umich. edu) to attempt to help recover the item.
UMS 10-11
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→ E Huron St
→
RACKHAM
POWER
E Washington St
Washtenaw Ave
HILL
Parking
Fletcher St
E Liberty St
MENDELSSOHN
Thayer St
State St
Enter
Palmer Dr
N University Ave
N
→
William St
Church St
Mall Parking & →
MAP + DIRECTIONS This map, with driving directions to the Mendelssohn Theatre, will be mailed to all attending educators three weeks before the performance.
MAP
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VENUE
LY D I A M E N D E L S S O H N T H E AT R E LOCATED WITHIN the Michigan League
League are similarly designed, tasteful
& Lloyd. In 1995, new carpeting and
building on the central campus of the
private dining rooms and a large ball-
seats were installed, and the proscenium
University of Michigan, the Lydia Men-
room. The Mendelssohn Theatre is also
curtain was replaced. Its lighting equip-
delssohn Theatre is an intimate, shoe-box
used extensively for theatrical produc-
ment is modern.
theatre seating 658. Decorated with solid
tions and solo recitals.
oak paneling that creates an atmosphere
The Mendelssohn Theatre is one of the
of elegance and charm, the Mendelssohn
Opening on May 4, 1929, the theatre
few theaters in the United States to have
Theatre is perfect for smaller conferences.
was designed by the Chicago architec-
a “cyclorama,” a curved wall at the back
Just down the hallway in the Michigan
tural firm of Allen Pond & Pond, Martin
of the stage. The cyclorama improves sound in the theater and can be used for creative lighting effects. Notwithstanding an isolated effort to establish a chamber music series by faculty and students in 1938, UMS regularly began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage for the 100th May Festival’s Cabaret Ball. Today, the Lydia Mendelssohn Theatre is used primarily for theatrical productions and song recitals. LYDIA MENDELSSOHN THEATRE 911 North University Ave Ann Arbor, MI 48109 (734) 763-333 Emergency Contact Number: (734) 764-2538 (Call this number to reach a UMS staff person or audience member at the performance.)
UMS 10-11
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D E TA I L S
BEING AN AUDIENCE MEMBER When preparing students for a
members from hearing. Often in large
on stage or whether they will miss
live performing arts event, it is impor-
rock concerts or in movie theaters,
something because of the sound and
tant to address the concept of “concert
the sound is turned up so loud that
movement you are making. Given this
etiquette.” Aside from helping prevent
you can talk and not disturb anyone’s
consideration, it’s often best to wait
disruptive behavior, a discussion of concert
listening experience. However, in other
until a pause in the performance (a
etiquette can also help students fully enjoy
concerts and live theater experiences,
pause of sound, movement, or energy)
the unique and exciting live performance
the sound is unamplified or just quite,
or to wait until the performer(s) bow to
experience. The following considerations
and the smallest noise could cause
the audience to share your enthusiasm
are listed to promote an ideal environment
your seat neighbor to miss an impor-
with them.
for all audience members.
tant line of dialogue or musical phrase.
Your Surroundings • Concert halls and performing arts venues are some of the most grand and beautiful buildings you might ever visit, so be sure to look around while you follow an usher to your group’s seats or once you are in your seat.
Movements or lights (from cell phones) may also distract your audience neighbors attention away from the stage, again, causing them to miss important action...and there’s no instant replay in live performance! • At a performance, you are sharing the physical components of the performance space with other audience
• UMS Ushers will be stationed through-
members. So, consider whether you
out the building and are identifiable
are sharing the arm rest and the leg
by their big black and white badges.
room in such a way that both you and
They are there to help you be as
your seat neighbors are comfortable.
comfortable as possible and if you have a question (about the perfor-
• As an audience member, you are
mance, about where to go, or about
also part of the performance. Any
what something is), please ask them,
enthusiasm you might have for the
and don’t feel shy, embarrassed, or
performance may make the perform-
hesitant in doing so.
ers perform better. So, if you like what you are seeing make sure they know it!
Sharing the Performance Hall
Maybe clap, hoot and holler, or stand
with Other Audience Members
up and cheer. However, when express-
• Consider whether any talking you do during the performance will prevent your seat neighbors or other audience
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• Out of respect for the performer(s), if you do not like some part of the performance, please do not boo or shout anything derogatory. Remember, a lot of hard work went in to creating the performance you are watching and it takes great courage for the performer to share his or her art with you. Share your Experience with Others • An important part of any performing arts experience is sharing it with others. This can include whispering to your seat neighbor during the performance, talking to your friends about what you liked and didn’t like on the bus back to school, or telling your family about the performance when you get home. More Information • For more specific details about coming
ing your own personal enjoyment of
to the concert (start time, bathroom
the performance, consider whether
locations, length), see pages 6-8 of this
your fellow audience members will be
guide.
able to see or hear what’s happening
ABOUT SALSA
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ABOUT
W H AT I S S A L S A ? Background Salsa, born in the 1960s and maturing into the 1970s, finds its roots in New York City, America’s cultural nexus. With Jazz and R&B holding popularity in night clubs where the Cuban Son and Puerto Rican Bomba and Plena genres were played and developed into the mambo, the next generation naturally created a mezcla, or mixture. Salsa is a dance genre, with syncopated beats shaped around the clap of the clave. Its lyrics are typically in Spanish, but its rhythms are universal. Horns (typically trumpets or trombones) are prominent and used as accents to the arrangement. What is interesting about Salsa music is that it is not typified by any one style of music (it encompasses many Latin music styles like Son and Mambo, for example), but it is somehow all encompassing and is easily identifiable. The biggest name in Salsa is the Fania record label, boasting its “AllStar” lineup of the greatest names in the business, including the masterful duo of
ers such as Marc Anthony and La India
the 1950s, providing a capricious sound-
Willie Colón and Hector Lavoe as well as
gained fame (led by producer Sergio
track for the Mamboniks to react to. At
the politically-minded Colombian, Ruben
George) that youthful Salsa fans returned
the same time, there were many other
Blades. Once Salsa matured in the 1970s,
to the dance floors of New York City.
factors at play to bring about the recon-
it was a full-blown Latin American move-
ciliation of the next generation’s amal-
ment. The addition of Blades to the label
A look at the most immediate Latin roots
gam known as Salsa, a term coined by
brought the genre heavily into the social
of Salsa music requires a tip of the hat
Fania Records’ Jerry Massucci, intended
and political movements of oppressed
to the big three big band Mambo kings:
for improved marketing. The traditions of
South and Central American peoples. In
Tito Rodriguez, Machito and his Afro-
many Latin American cultures use Salsa
the 80s, Salsa found itself dichotomized
Cubans, and, of course, Tito Puente.
as a meeting point, but it was surely the
into sub-genres such as Salsa Romántica.
The Palladium Ballroom in Manhattan
impression left by the Palladium Ballroom
While these sub-genres found success
saw some of the greatest performers of
mixed with the unrest of Barrio Poverty
in much of Latin America, it alienated
Latin music and dance the world has ever
that acted as the spark to ignite the Salsa
original Salsa lovers in New York. It was
known. The big three led the way in craft
movement.
not until the 1990s when Pop Salsa sing-
and skill of the Mambo dance craze of
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“The music today is now a hugely popular form in Europe, Asia and Africa in addition to its traditional popularity in the Caribbean as well as North and South America. Like jazz most of the pioneers of the form are getting up in age if they have not actually passed
away but the tradition is kept very much alive by neo-traditionalists , experimentalists and the vast majority who rest somewhere in between the two. In its simplest form Salsa marries African derived rhythms
with Spanish melodies and language and mixes these two traditions up with instruments that hail largely from Cuba and Western Europe. Other countries like Puerto Rico and to a lesser extent Colombia, Panama, Venezuela and Peru have all contributed something important to the development of Salsa both as performers and consumers of this musical and dance-based form. Today however we find
Salsa clubs in Tel Aviv + Tokyo and Texas and the cross section of people practicing the form both as dancers and players mirrors this new global diversity and interest.”
– From the Baby Loves Salsa website http://babylovessalso.com/parents/
UMS 10-11
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Salsa: Dance or Music?
and it was the children of Palladium and
seen success in its adaptations and reflec-
Salsa was a musical form first and the
of Puerto Rican and Cuban immigrants—
tions. Regaton is born of a similar past
word “Salsa” means “sauce” in Span-
who grew up with salsa music, the
as Salsa and often samples Salsa classics
ish. It takes ingredients from mambo,
mambo movemets, and American pop
directly. Marc Anthony arrived late on
boogaloo, traditional jibarito (term for
culture—that eventually combined styles,
the Salsa scene and has had continued
Puerto Rican farmers) music, bomba,
creating a new dance form: the Salsa.
success even today throughout all of the
plena, bolero, cha-cha-cha, rumba, son, and many other Latin American musical styles. Being representative of so many Latin American styles, Salsa music gained much popularity and support from the Latin American world during the 60s and 70s when Fania Records was prominent. Typically, with new music comes new dance, and in response to Salsa music, people began developing intricate dance moves based on relatively simple steps with origins in the mambo dance form. The mambo already had significant popularity with New York’s Hispanic community through the city’s Palladium Ballroom
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Americas. There are many examples such Cultural Impact As a movement in America, outside of New York City, Salsa had a surprisingly unimpressive cultural impact. While they were able to sell out Yankee Stadium, that was exclusively to the large Hispanic popluation in the area. Their main success lay in Latin American countries. Salsa had particular success with its social message songs in oppressed nationstates like Colombia. As time has passed and an appreciation for a greater variety of styles of past and present has become normative in the United States, Salsa has
as these where Salsa music has had a direct cultural impact. In terms of Salsa as a dance form, it is one of the most popular forms today, featured on television shows like Dancing With The Stars. It is danced in night clubs by young and old alike, and it has even inspired the creation of the M Salsa club here at the University of Michigan. Salsa dance and music have the same root benefit of a sense of freedom and power, while maintaining familiarity and flow.
www.babylovessalsa.com
ABOUT
B ig N ames in S alsa
Fania Records – main record label of
Willie Colón – the original Fania All-
Celia Cruz – known as the “Queen
the Salsa movement; founded by Johnny
Star; trumpet player and a main song-writ-
of Salsa” as well as “La Guarachera de
Pacheco
er for the label; his first album “El Malo” is
Cuba;” had a successful career before
what put Fania Records on the map
joining the Fania family; the first major
Jerry Massucci – a lawyer who fronted money for Fania Records and became
Hector Lavoe – lead vocalist for many
a business partner to Johnny Pacheco
Fania albums; usually worked with Willie
and business manager of Fania Records
Colón on his albums
Johnny Pacheco –original founder
Ruben Blades – late comer to the
and CEO of Fania Records, as well as a
Fania family; became very well-known for
clarinetist and band leader in his earlier
his socially aware songs; very popular in
years as a musician
Central and South America where there
female salsa artist
was much political strife at the time of Fania’s prevalance UMS 10-11
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INSTRUMENTS
P ercussion in F ocus instrument descriptions from www.pbs.org/wgbh/latinmusicusa/#/en/exp/salsa/read
Claves Made from a pair of wooden
gan to change: playing congas as a set
include the timbales, bongo and conga,
dowels, claves are struck against each
of two, three, or four became popular;
forming the core rhythm section that is
other to create a short, sharp click.
tuning systems with lugs and bolts al-
central to Latin Jazz and Salsa.
Although clave-like instruments appear
lowed for greater precision; and synthetic
wherever sticks are found, claves are gen-
heads helped standardize the sound. The
Bongo The bongo is made of two
erally thought to have developed in 17th
result was an instrument with a variety of
differently-sized hand drums joined with
century Havana shipyards, from the dow-
tones and timbres that made it suitable
a piece of wood. Bongoceros (bongo
els used in shipbuilding. There the claves
for a wide range of different musical
players) usually play seated, with their
kept time and marked the two-measure
styles, evident today by the ubiquitous
instrument placed between their knees.
rhythmic cell characteristic of West
presence of congas in Latin music and
Unlike the many drums found in Cuba
African music. It was not until the 1940s
their frequent appearance in other
that originally came from Africa, the bon-
that this rhythmic cell became known as
genres.
go was developed in the eastern Oriente
the clave, by which point claves were an
region of Cuba. Oriente is also where
essential instrument of Rumba and the
Timbales A creolized version of the
Son music developed, and the bongo
popular Son from eastern Cuba. Though
timpani or kettledrum, timbales appeared
was essential to the popular sextets
easy to play, the claves’ role in marking
in late 19th century Cuba and became
and septets that, starting in the 1920s,
the clave rhythm makes them an impor-
essential to the sound of the popular
performed Son throughout Cuba. In the
tant instrument, and the person playing
Danzón. Timbales are shallow, open-
1940s, when Arsenio Rodríguez trans-
them an essential timekeeper in Afro-
bottom drums with a metal shell (cás-
formed the Son septeto (septet) into the
Cuban and Salsa ensembles.
cara). Like many Afro-Cuban percussion
brass, piano, and conga-enhanced Cuban
instruments, they come in “sexed” pairs,
conjunto, his bongosero also doubled
Congas Conga drums, also known as
with the macho (male) slightly smaller
on the compana (cowbell), switching
tumbadoras in Spanish, are one of the
than the hembra (female). To allow the
from bongo to compana during the
principal percussion instruments in Afro-
player (timbalero ) to play while stand-
intensive montuno (call-and-response)
Cuban music. They are primarily used
ing, timbales are mounted on a stand
passages. Played primarily with the
to play a drum pattern called tumbao,
that can also accommodate cowbells,
fingers, the piercing, high-pitched tones
although in the hands of a master conga
woodblocks, and even cymbals, making
of the bongo allow it to stand out, even
player, or conguero, they are powerful
a sort of Latin drum kit. Timbaleros usu-
in large orchestras. As Son traveled
improvisational instruments. Congas are
ally play with a pair of wooden sticks, but
to the United States, so did the bongo.
uniquely Cuban, probably first made by
also use their hands to produce a wide
The Cuban bongo, conga and timbales
covering empty rum barrels with animal
range of sounds, including the cáscara
became essential to the rhythm sections
hides, and tuned by heating the hides
rhythm that is played, as the name sug-
of Latin Jazz orchestras, and, years later,
with a flame. Congueros normally played
gests, on the metal shell. The Latin Jazz
Salsa ensembles.
only one drum, but in the 1950s, this be-
ensembles of the 1940s were the first to
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CONGAS
TIMBALES
CLAVES
BONGO
O ther S A L S A B and I nstruments While the claves, timbales, and congas are the instruments of a typical salsa ensemble percussion section, other complementary instruments make up the full ensemble, including the following:
Maracas
Guitar
string bass
CUATRO
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BABY LOVES SALSA
www.babylovessalsa.com
UMS 10-11
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ABOUT
A S tatement from B aby L oves S alsa “Rhythm is a language which the human body responds to instantaneously regardless of whether the listener has learned how to dance or not, or whether the listener
What to expect...
knows the language of the song. As soon as a strong rhythm is repeated over and over again in a few cycles, a trance will take hold on the listener no matter what his
The band will play salsa-style
level or degree of listening or his age. This is why salsa is so popular. It is an instantly
songs aimed towards a child
gratifying feeling that happens when the great tropical rhythms begin to flow into
audience. Songs are typically
your ears.
bilingual and are often directed towards teaching Spanish to
And this bi-lingual, cross-cultural, rhythmic mélange flows from the first note of
young English-speaking (or teach-
a Baby Loves Salsa (BLS) show. It is a smooth and subtle sound that inspires and
ing English to young Spanish-
provides an atmosphere for young people and families to enjoy music and dance
speaking) audience members.
together, and share educational themes both for kids and adults, including brief
Themes include members of the
journeys into clave land (the backbone of salsa), and the live building up of a “son”(
family, colors, instruments of the
a Cuban rhythm and the foundation of salsa). Featuring some of the top musicians
band, and dancing. The venue has
in contemporary Latin music, BLS spins out of the recently established tradition and
a stage, a small orchestra pit, and
success of the Baby Loves Disco and the Sharon Jones led Baby Loves Jazz record and
a house consisting of a main floor
band. We believe that music that is geared towards children should not be “chil-
split into 3 sections with a balcony
dren’s music” necessarily
above. While this is not an optimal
space for dancing, we do encour-
Founded by singer/songwriter/arranger, Jose Conde (Ola Fresca), BLS performs songs
age audience members to get up
in different rhythms under the umbrella of salsa. From Cuban son, to Colombian
and dance at their seats if they are
Cumbia, from Descarga, to Puerto Rican plena, from cha-cha-cha, to merengue
so moved.
to rumba guaguanco. The shows are like a journey through the tropics to African roots and to imaginary places. The band is made up of friends who play together on many occasions and have separate projects in the New York area but come together here in Baby Loves Salsa. The bi-lingual lyrics in the songs are about cats and dogs, going to the beach, the family of music, a drum that wants more respect from the piano etc. Some of the songs are original and the rest are original BLS “salsafied” renditions of children’s classics such as Old Macdonald and “Wheels on the Bus”. We love and encourage Audience participation BLS shows J!!! Baby Loves Salsa has recorded one cd to date and it is called “Songs for Gatitos y Perritos” which means, songs for little cats and little dogs!“ - Baby Loves Salsa
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UMS 10-11
PEOPLE
J orge , J ose , M arvin + A le x JOSE CONDE - Singer
band, nu Latin groove. Conde’s music has
friends laugh until their ribs ache. He is
Musical traveler, adventurer, poet, and
appeared in numerous compilation CDs,
currently also performing with the very
chef of melodies, Jose Conde was born
including Putumayo, Rough Guide, and
caliente band from NY LA Exelencia, as
in Chicago, Illinois, but was raised in the
Universal, and his music has also been
well as working on a book about Cuban
multicultural and topical paradise of Mi-
used in films on PBS and Cable channels.
bass technique and his first solo album.
ami, Florida by a Cuban immigrant single
The winner of the 2008 Best Latin Record
mom. At a very early age, Conde began
in the Independent Music Awards, Jose
his musical training by singing along to
Conde has played many great festivals
Marvin Diz - Percussion
the radio and imitating the recorded
and venues throughout North America
Marvin Diz comes from Habana, Cuba
sounds of humans and the instruments
and hopes to present his first European
and a family of distinguished musicians.
that humans play. Jose became an expert
shows this summer or soon thereafter.
As a boy he quickly moved from playing
“hummer” and could sing songs and
imitative percussive licks on buckets and
recite whole guitar solos like the one
furniture to las tumbadoras or congas.
on the Eagles Hotel California on “neer,
JORGE BRINGAS - Bass
The boy that was enamored with percus-
ni neer ni neer ni neer neer”….. This
Havana, Cuba native, Jorge Bringas,
sion went on to study it formally as a
was the beginning of his education in
came to the US following his family in
young man and in doing so, he received
musical vocabulary. Many years later he
the late 1990’s. In Cuba, he studied
tutelage from some of the best percus-
supplemented this early exploration with
with Carlos del Puerto and played and
sionists in Cuba including the percussion
formal musical studies at Berklee College
toured with Omara Portuondo of Buena
legend “Changuito.” Marvin left Cuba
of Music.
Vista Social Club fame. In the US, he
in 1999, defecting to Costa Rica where
first settled in Miami and toured and
he performed with a number of bands
As he grew up Conde came into contact
recorded with international Cuban diva
and musical projects. After a brief time
with many tropical music sounds from
Albita and the late great Celia Cruz. He
in Mexico City, he relocated to New York
musical and non musical sources, includ-
later lived briefly in Minneapolis where
in 2002. New York has provided the
ing, Cuban son, and mambo, funk, pop,
he joined the band of former Cubanismo
possibility to record in productions with
rock salsa, etc, as well as non musical
pianist Nachito Herrera and was one of
Conjunto Chocolate, Xiomara Laugart,
sounds that implied music, which he
the founding members of the Timba
Miguel Valdes, Edmar Castañeda, Pedro
found abundant in South Florida. Even-
band Tiempo Libre. Later Jorge came to
Martinez, Grupo Huracanes, Bobby
tually he started writing and arranging
New York where he immediately asserted
Carcases, Minimo, Grupo Ibboru, Chiemi
songs blending all of his influences and
himself as one of the top Latin bass
Nakai, Yorgis Goiricelaya, and Jose Conde
inspirations. Jose Conde has recorded
players on the scene. In New York he has
y Ola Fresca. He was part of Brian Lynch’s
three albums to date, two with his band
performed with Chico O’ Farrill, Marc
CD Simpático which won a Grammy for
Ola Fresca and one with the Baby Loves
Ribaud, Juan Carlos Formel, ex-Bamboleo
best Latin Jazz record. Marvin’s innova-
Salsa band. He has a new self-titled
Yordamis, Pedrito Martinez and the LP
tive percussionist vision is on full display
record that will be released worldwide
allstars, and Jose Conde y Ola Fresca
in his acclaimed solo record Habla el
in June of 2011 and will be accompa-
amongst others. “Jorgito” loves to crack
Tambor, which he released on his own
nied by touring and shows with his new
jokes and make fellow musicians and
label in 2008.
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UMS 10-11
 Alex Fernandez Fox - Cuban Tres
from Georgetown University. He studied
Alex Fernandez Fox is a New York born
classical guitar at the Mannes College of
Cuban-American artist, multi-instrumen-
Music and guitar and percussion at the
talist, composer, singer, and songwriter.
National Arts School (ENA) in Havana,
Alex plays guitars and other instru-
Cuba. Alex’s new album, UNO, his first
ments, performing primarily on the tres,
collection of original songs, was recently
a Cuban cousin of the Spanish guitar.
released on the Del Zorro record label
He has performed at festivals and local
and is now available online.
music venues throughout North America and in Europe with many ensembles in many configurations. He holds degrees from Duke University, where he played piano in the Duke Jazz Ensemble, and UMS 10-11
23
REPERTOIRE
L ikely T o B e P erformed Baby Loves Salsa is likely to perform the following three pieces (in addition to other repertoire) during the Youth Performance: “Pititi y Titi,” “Arsenio Ruf Ruf,” and “Mi Familia es la Musica.” Where available, below are video and audio links as well as lyrics for the songs.
(French)
(English Translation)
from Jose Conde y Ola Fresca’s
Avec Pititi et Titi
With Pititi and titi
album Revolucion
Nous allons jouer un riquitiki
We are going to play a riquitiki
tiki tiki ta tiki tiki tiki ta
tiki tiki ta tiki tiki tiki ta
avec Titi et Pititi
with titi and pititi
Le papa de Pittiti avait une obsession
The papa of Pittiti
Il a rêvé que son fils sera
Had an obsession
un docteur dans la profession,
Dreamed that his son would be
doctor en profession,
Pititi y Titi –by Jose Conde
Video: http://www.facebook.com/video/ video.php?v=191212324224
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UMS 10-11
Mais avec un nom comme Pititi
But with a name like pititi
Il n’y avait rien a faire
He just had no choice
Depuis le jour ou il est ne’
From the day he was born he was lost
Il la Perdue a la percussion
To percussio
Avec Pititi et Titi
With Pititi and titi
Nous allons jouer un riquitiki
We are going to play a riquitiki
tiki tiki ta tiki tiki tiki ta
tiki tiki ta tiki tiki tiki ta
avec Titi et Pititi
with titi and pititi
Titi était une fille
Titi was a girl
avec onze frères aine’s
With eleven older brothers
Toujours jaloux de ses amours
Who intervened in her affairs
Ne lui foutaient jamais la paix
And made her life imposible
Elle a voulu la danse et chante dans un
She wanted to sing and dance
group de Son Elle a rencontré Pititi
In a small group that played son
et s’est échappée
When she met Pititi She escaped
et elle a suivi son passion interne
And followed her eternal passion
Avec Pititi et Titi
With Pititi and titi
Nous allons jouer un riquitiki
We are going to play a riquitiki
tiki tiki ta tiki tiki tiki ta avec
tiki tiki ta tiki tiki tiki ta
Titi et Pititi
with titi and pititi
Arsenio RUF RUF
Mi Familia es la Musica
(from the Baby Loves Salsa record)
(My Family is Music)
Audio: http://www.youtube.com/
Audio: http://babylovessalsa.com/
watch?v=7oCudVfHZ88 (original by
mi_familia_es_la_musica.mp3
Arsenio Rodriguez) My Mom is mama This song is an homenaje (homage)
My dad is papa
to the Cuban tres guitar and to the
Sister is hermana
great Cuban composer and tres gui-
Abuelo is grandpa
tar player, Arsenio Rodriguez. He was
a blind musician who left Cuba at the
Auntie es mi tia
height of his career in the late 1940’s
Uncle es mi tio
and settled in New York where he
My brother is hermano
continued to write songs and influ-
Abuelo is grandpa
ence the music that would become
“salsa” as we know it today.
Mi Familia es la musica
Arsenio Ru Ru toca tu tres Un dos tres toca tu tres Arsenio ru ru play your tres One two three play your tres There is a Guitar That is called a Tres With Three pairs of Strings Uno Dos Y Tres The Tres Plays the Montuno In Son And Changui With a wooden Body and Metal Strings And a sound that’s brighter than diamond rings Arsenio Ru Ru toca tu tres Un dos tres toca tu tres Arsenio ru ru play your tres One two three play your tres UMS 10-11
25
CONNECTIONS
V isual + P erforming A rts The following artwork is part of the University of Michigan Museum of Art Collection.
Look at the images on pages X and Y and consider the following: How do these two images reflect your perception of Latin American culture?
Carlos Merida (Mexican, born Guatemala, 1891-1985) Festival Dances of Mexico – Dance of the Umbrellas 1893-1944 Color lithograph
If you wrote or could pick a piece of music to represent each of these images, what kind of music would it be? Why? How are these two images similar? How are they different? How do these two images physically represent music? What are three words you would use to describe each image? How do these three words relate to what you know about Latin American culture? How might each piece relate to the work of Baby Loves Salsa? What material (mode) are these images made out of? How does that affect how they appear and what they represent?
26
UMS 10-11
Museum Purchase, 1944.10
2003/1.368
Gift from the Family of Edwin N. Ferdon,
Lithograph
1940-1949
Dog Carnival
Chet LaMore (American, 1908-1980)
RESOURCES
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UMS 10-11
ENGAGE
N ational S tandards The following are national standards addressed through this Youth Performance and through the ideas in the following curriculum connections.
English Language Arts
APPLIED ARTS
Social Sciences
English Language Arts K-12
Technology K-12
Geography K-12
NL-ENG.K-12.6 Applying Knowledge
NT.K-12.9 Basic Operations and Concepts
NSS-G.K-12.1 The World in Spatial Terms
NL-ENG.K-12.7 Evaluating Data
NT.K-12.3 Technology Productivity Tools
NSS-G.K-12.2 Places and Regions
NL-ENG.K-12.8 Developing Research Skills
NT.K-12.5 Technology Research Tools
NSS-G.K-12.4 Human Systems
NL-ENG.K-12.12 Applying Language Skills Civics K-4 NSS-C.K-4.2 Values and Principles of
MUSIC Music K-4 NA-M.K-4.6 Listening To, Analyzing and Describing Music
Democracy NSS-C.K-4.3 Principles of Democracy NSS-C.K-4.4 Other Nations and World Affairs U.S. History K-4 NSS-USH.K-4.3 The History of the United States: Democratic Principles and Values and the People from Many Cultures Who Contributed to its Cultural, Economic and Political Heritage NSS-USH.5-12.3 Revolution and the New Nation (1754-1820s)
UMS 10-11
29
ENGAGE
C urriculum C onnections The UMS Youth Performance by Baby Loves Salsa gives students the chance to explore the music, geography, history, communities, and cultures of America. To help connect these performances to classroom curriculum, pick one of these concepts and activities or create an entire interdisciplinary curriculum with these as a base.
Descriptive Writing
Music Rhythm, Comparisons
they think the band is named fresh wave.
As an introduction to this concert ask
Tell students that a man whose name
What could that mean or refer to when
your class to define salsa.. If they
is Jose Conde is the leader of the band
you think about music? Tell students
respond that it is a food or a sauce or a
they will hear and that his family came
that the name of a band can be impor-
dip, ask them what is in it. If you can,
from Cuba, so the salsa music he writes
tant. It can tell you about the music
have a salsa tasting with different kinds
and performs is made up of traditional
the band plays or about how the band
of salsa and chips. Make a list of all the
Cuban rhythms and style mixed with the
thinks of itself. Tell students to pretend
words students can think of that describe
modern or contemporary sounds and
that they have a band. What would they
a taste. Have them pick which words
styles that he likes. Cuba’s early salsa
name it? Why?
on the list describe the salsa. Define
music incorporates a call-and-response
metaphor and simile. Write together as a
structure. Define this. Give students
When people talk about salsa they may
class, or have students individually write
some examples and sing some call-and-
also be talking about a kind of dance.
fun descriptions of the taste of salsa.
response songs. What other cultures
Ask students if they have ever done salsa
use a call-and-response structure in their
dancing or seen it done. Go to Youtube
music? Do we?
and show students some salsa dancing.
Transportation, Communication and Globalization
Try it.
Determine that salsa is made up of
The Rhythm is important in salsa music.
several ingredients, not just one. Tell
The African influence can be seen in
It is hard to sit still when you listen to
them that they are going to hear salsa
the types of drums used. You might
salsa music. It has a very distinctive
music and that there are many kinds of
find four sizes of Conga: tumba, conga,
beat. Play some of this music and have
salsa music. Like the salsa we eat, which
quinto and requinto. The bongo, tim-
students move to the beat. If they have
is made up of many kinds of ingredients,
bales including chachacha bell, salsa bell,
talked about meter and rhythm in music
salsa music is made up of many kinds of
wood block and cymbals and also shells,
class, have them count to the music. Play
rhythms and melodies. Some say that it
maracas, and other shakers are used.
some other kinds of music with differ-
has African rhythms, Spanish melodies
Look at pictures of these instruments and
ent kinds of rhythm and have students
and is played with instruments from
listen to the way they sound. Music can
move to that. You might play a march
Cuba and Western Europe. Ask older stu-
be found be googling salsa music and
and a waltz. Tell students to use as many
dents what transportation, communica-
instruments.
descriptive words as they can to compare
tion and globalization might have to do
the different kinds of music and rhythms
with salsa music. Discuss the way music,
Jose Conde’s band is called Ola Fresca.
like other things, spreads throughout
Ola Fresca is a Spanish name which
a country and from country to country,
means fresh wave. Why does the band
often changing as it goes.
have a Spanish name? Ask students why
30
UMS 10-11
they hear.
Mapping
from friends and family where the lan-
form of government of a country affect
Jose Conde was born in Chicago and
guage and customs might be unfamiliar
the every day life of the people who live
raised in Miami, Florida. His parents
and jobs hard to get. List some reasons
in the country? What are the democratic
came to this country from Cuba. There
people immigrate. Think back to the
principles upon which our country is
are a lot of people who came to the
beginning of our country. Except for the
based? What is the bill of rights? What
United States from Cuba living in Florida.
Native Americans, everyone was an immi-
kinds of things does our Constitution
Ask students why they think this is so.
grant. Why did the colonists come here
assure each citizen has? How is this the
Take out a map and see if students can
to live? Are the reasons for immigration
same or different in Cuba? (younger
find Cuba. Tell them to find Florida.
today the same as they were in the early
students can learn the name of our
Now can they answer the question?
years of our country?
president and the name of the leader of
Figure out how many miles Cuba is from Florida.
Cuba. They can learn that the two counAre there any immigrants in Michigan to-
tries are governed differently and you can
day, people coming from other countries
explain in simple terms, perhaps using a
Cuba has only four letters. A fun
to live in our state? From which coun-
king as an example, how that is.)
homework assignment would be to find
tries are they coming? In which parts
as many countries as you can with four
of the state are they settling? Why did
Cuba, The Country, Research
letters or less. Some examples are Iraq,
most of them come?
Skills
Iran, Figi, Peru, Oman, Laos.
Divide your class into groups and tell Asylum, Asylum Seekers, Re-
each group to reasearch one of the fol-
Family and Community
search Skills
lowing topics and present their findings
Many Cubans live in Miami, Florida. They
Some people come to this country seek-
to the class in an oral report, power point
form Cuban communities. Many speak
ing asylum. What is that? Define asy-
presentation, podcast or video: Cuba’s
Spanish to each other and celebrate Cu-
lum. If someone is seeking asylum here
climate and a description of the land;
ban holidays together. Why would they
because they are afraid to live in their
some of the history of Cuba; the popu-
settle near each other? How would that
own country, are they always welcomed,
lation of Cuba, some statistics about it in-
help them live more comfortably in the
allowed in and allowed to become
cluding ethnic background of the people;
United States? Younger students study-
citizens? Discuss immigration laws and
plants and animals of Cuba; Cuba’s
ing families and communitites might like
the rules that govern asylum seekers. At
government; Cuban art and Cuban artists
to learn about Cuban foods and culture
this point talk about persuasive writ-
and other topics you and your students
and holidays and compare the Cuban
ing. Tell students to take a stand on
might find interesting.
family and community to their family and
whether the United States should accept
community.
all people seeking asylum. They should
Ask students what language they speak
write a paper expressing their opinion on
in Cuba. Tell them to pretend that they
Immigrants and Immigration,
this topic and trying to persuade others
are going to visit Cuba and will have
Past and Present
that they are right. This might also be a
to know some Spanish to get along.
A person who comes from another
good time to introduce a unit on debate
Have each child make a dictionary of
country to live in this country is called
with asylum seekers the topic. Research
the words he or she thinks it would be
an immigrant. Ask students if they have
skills should be taught here and students
important to know when visiting Cuba.
relatives who were or are immigrants.
should be encouraged to use both print
If your students are studying Spanish,
Make a list of the countries they came
and computer sources.
have them put in both the Spanish and
from. Graph this.
the English words. Their dictionaries can
Ask students if they have heard any
Forms of Government, Compari-
stories about the countries their relatives
sons, Democratic Principles
came from or about their journey to The
If you are studying our government and
United States. If so, share these.
the democratic principles on which it is
be illustrated.
based, take a look at Cuba and see how Ask students why a person would leave
it differs from the United States. What
the country in which he or she was born
form of government do we have? What
and raised and go to another country far
form does Cuba have? How does the UMS 10-11
31
EXPLORE
A dditional R E S O U R C E S Web Sites
Organizations University Musical Society
Wayne State University
Instruments of Puerto Rico
881 N University Ave
Center for Chicano-Boricua Studies
www.musicofpuertorico.com/index.php/
Ann Arbor, MI 48109-1101
3324 Faculty Administration Building
(734) 615-0122
656 W Kirby
umsyouth@umich.edu
Detroit, MI 48202
Baby Loves Salsa
www.ums.org
(313) 577-4378
www.babylovessalsa.com/
aa1941@wayne.edu
www.babylovessalsa.com/parents/
Compรกs
www.clas.wayne.edu/cbs
instruments/cuatro/
(Resources for Parents)
Center of Music and Performing Arts Southwest
Artes Unidas de Michigan
Latin Music USA
Odd Fellows Building
P.O. Box 16088
www.pbs.org/wgbh/latinmusicusa/#/en/
8701 W Vernor Hwy
Lansing, MI 48901-6088
Detroit, MI 48209
(517) 335-0466
(313) 554-0791
info@artesunidas.org
New York Map
compascenter@yahoo.com
www.artesunidas.org
www.mustseenewyork.com/grid/map02. html
www.compascenter.org Tulipanes Latino Art & Film Festival University of Michigan
P.O. Box 1455
Center for Latin American and
Holland, MI 49422-1455
Caribbean Studies
(616) 394-0000
2607 Social Work Building
info@tulipanes.org
1080 South University St
www.tulipanes.org
Ann Arbor, MI 48109-1106 (734) 763-0553 lacs.office@umich.edu www.ii.umich.edu/lacs
32
UMS 10-11
exp/salsa/read
UMS
UMS
W H AT I S U M S ? The University Musical Society (UMS) is committed to connecting audiences with performing artists from around the world in uncommon and engaging experiences. One of the oldest performing arts presenters in the country, the University Musical Society is now in its 132nd season. With a program steeped in music, dance, and theater performed at the highest international standards of quality, UMS contributes to a vibrant cultural community by presenting approximately 60-75 performances and over 100 free educational and community activities each season. UMS also commissions new work, sponsors artist residencies, and organizes collaborative projects with local, national, and international partners.
UMS Education and Community Engagement Department MAILING ADDRESS 100 Burton Memorial Tower 881 North University Ave
STAFF
INTERNS
Kenneth C. Fischer,
Caroline Buse
UMS President
Ann Arbor, MI 48109-1011
Neal Kelley Claire C. Rice Interim Director
Matthew MejĂa
Mary Roeder
Emily Michels
Residency Coordinator
Britta Wilhelmsen Omari Rush Education Manager
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UMS 10-11
UMS
U M S Y O U T H E D U C AT I O N P R O G R A M 10 THINGS TO KNOW
QUALITY Every student deserves access to
ACCESSIBILITY Eliminating participation barriers
“the best” experiences of world arts
Working directly with schools to align our programs with classroom
• UMS subsidizes Youth Performance
and culture
K-12 SCHOOL PARTNERSHIPS
goals and objectives
tickets to $6/student (average subsidy: • UMS presents the finest international
$25/ticket)
performing and cultural artists.
Ann Arbor Public Schools and the Washt• When possible, UMS reimburses bus-
• Performances are often exclusive to
• Superintendent of Ann Arbor Public • UMS Youth Education offers person-
Schools is an ex officio member of the
alized customer service to teachers in
UMS Board of Directors.
• UMS Youth Performances aim to
order to respond to each school’s unique
present to students the same perfor-
needs.
mance that the public audiences see (no watered-down content).
enaw Intermediate School District.
sing costs.
Ann Arbor or touring to a small number of cities.
• 14-year official partnerships with the
• UMS has significant relationships with Detroit Public Schools’ dance and world
• UMS actively seeks out schools with
language programs and is developing
economic and geographic challenges to
relationships with other regional districts.
ensure and facilitate participation. • UMS is building partnerships with or of-
DIVERSITY Highlighting the cultural, artistic,
fering specialized services to the region’s ARTS EDUCATION LEADER
independent and home schools.
and geographic diversity of the world One of the premier arts education • Programs represent world cultures and
programs in the country
mirror school/community demographics. • UMS’s peer arts education programs: Car• Students see a variety of art forms:
negie Hall, Lincoln Center, Kennedy Center.
classical music, dance, theater, jazz, choral, global arts.
• UMS has the largest youth education
UNIVERSITY EDUCATION PARTNERSHIPS Affecting educators’ teaching practices at the developmental stage
program of its type in the four-state region
• UMS Youth Education is developing
• UMS’s Global Arts program focuses
and has consistent school/teacher participa-
a partnership with the U-M School of
on 4 distinct regions of the world—
tion throughout southeastern Michigan.
Education, which keeps UMS informed
Africa, the Americas, Asia, and the Arab World—with a annual festival featuring
• 20,000 students are engaged each sea-
the arts of one region.
son by daytime performances, workshops and in-school visits. • UMS Youth Education was awarded “Best Practices” by ArtServe Michigan and The Dana Foundation (2003).
of current research in educational theory and practice. • University professors and staff are active program advisors and workshop presenters. UMS 10-11
35
KENNEDY CENTER PARTNERSHIP
TEACHER ADVISORY COMMITTEE
• UMS Youth Education has been a
Meeting the actual needs of today’s
member of the prestigious Kennedy
educators in real time
Center Partners in Education Program since 1997. • Partners in Education is a national consortium of arts organization and public school partnerships.
• UMS Youth Education works with a 50-teacher committee that guides program decision-making. • The Committee meets throughout the season in large and small groups
• The program networks over 100 na-
regarding issues that affect teachers and
tional partner teams and helps UMS stay
their participation: ticket/bussing costs,
on top of best practices in education and
programming, future goals, etc.
arts nationwide. IN-SCHOOL VISITS & CURRICULUM PROFESSIONAL DEVELOPMENT “I find your arts and culture workshops to be one of the ‘Seven Wonders of Ann Arbor’!” –AAPS Teacher
DEVELOPMENT Supporting teachers in the classroom • UMS Youth Education places international artists and local arts educators/ teaching artists in classes to help educa-
• UMS Youth Education provides some
tors teach a particular art form or model
of the region’s most vital and responsive
new/innovative teaching practices.
professional development training.
• UMS develops nationally-recognized
• Over 300 teachers participate in our
teacher curriculum materials to help
educator workshops each season.
teachers incorporate upcoming youth performances immediately in their daily
• In most workshops, UMS utilizes and engages resources of the regional community: cultural experts and institutions, performing and teaching artists.
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UMS 10-11
classroom instruction. UMS Youth Education Program umsyouth@umich.edu | 734-615-0122 www.ums.org/education
SEND US YOUR FEEDBACK! UMS wants to know what teachers and students think about this Youth Performance. We hope you’ll send us your thoughts, drawings, letters, or reviews.
UMS YOUTH EDUCATION PROGRAM Burton Memorial Tower • 881 N. University Ave. • Ann Arbor, MI 48109-1011 (734) 615-0122 phone • (734) 998-7526 fax • umsyouth@umich.edu www.ums.org/education
UMS 10-11
37
C O L O R I N G PA G E S
38
UMS 10-11
www.babylovessalsa.com