THE TREBLE CLEF
THEMULTICULTURALMUSICGROUP’S COMMUNITYRESOURCEFORSOCIALJUSTICETHROUGHMUSIC
Politics,Merengue,andImmigration
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TipsforParents:SupportingYourMusicianinTraining
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Welcome,NewBoardMembers
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EDITORIAL NOTE
WelcomebacktoTheTrebleClef!Thistime,weareofferingyouadifferent experiencewithournewsletter,whichhasbeen,uptillnow,avehicleforsharing withyouallthethingswedoandwhereweareheadingwithouralmostthree decadesofservingthecommunitythroughtheMulticulturalMusicGroup,Inc (MMG)
Forthepasttwoyears,theMMGhasbeenundergoingatransformation,which includeschangesinouroperationalstructure,staffmembers,andothers. Regardlessofsuchtransitions,ourmissionandworkhaveremainedsteadfast:we presentandteachhistorythroughmusictoadvancesocialjusticecausesand social-emotionallearning
WhetherneworaseasonedMMGsupporter,pleaseknowthatwecontinueto achievetheabovebycommissioningandpresentingintegratedartsand humanitiesperformancesbylivingcomposers,scholars,andmusicianswhoare Black,Indigenous,orofcolor(BIPOC).Wealsosupportlargeandsmallensembles ledbyAfro-Indigenouspeople,provideafterschoolmusictrainingtostudentsages 11to18attheMottHallSchoolinWashingtonHeights,andareimplementinga mentorshipmodeltoensurethatourstudentshavemusiceducationofthehighest quality,withourteachers,andthattheycontinuouslygrowwithone-on-one sessions,beyondtheimpacttheyreceiveatschool.
Thisiswhatwehavedoneforalmostthirtyyearsandwhatwehave sharedwithyouconsistentlyviaTheTrebleClef,whichhasshownhow committedwearetoservingeconomicallymarginalizedcommunities infourNewYorkCityboroughsandadvancingsocialjusticeandglobal understandinganddiversityintheorchestralworldandrepertoire.This time,wearereadytooffermorethroughthismedium.TheTrebleClef willserveas(1)ourprimarymediumtoshareouraccomplishments andthingswedothroughfeaturedstories,eventsrecaps,anddonors’ andotherstakeholders’spotlights;(2)amediumforprofessional developmentforeducatorsinterestedinsocial-emotionallearning (SEL);and(3)aresourceforcommunityeducationinwhichwewill sharevaluableinformationaboutmusiceducation,socialjustice,and othertipstoengageinmulticulturalactivities.
TheTrebleClefwillnowbepublishedquarterly,thisbeingthenumber forthefirstquarterofour2024-2025season(Aug-Oct).Inthisissue, youwillfindanintroductorysocial-emotionallearningtakeonteaching Dominicanpopularmusic,especiallymerenguesongsofthe1980sand theirpoliticalmessages.Besidesprovidingyouwiththehistorybehind thisspecialmomentinDominicanmusic–knownasthe“GoldenAge” ofmerengue–educatorswillfindalessonplanthatcouldbeadapted fortheirteachinglevels Thecontentwillbeofinterestnotonlyto educatorsbutalsotomusicians,students,andcommunitymembers interestedinCaribbeansounds.Infutureissues,youwillfindtheMMG’s repertoireusedastheguidingmaterialforteaching.
Moreover,inthisnumber,wesharesomeexcitingnewsaboutour upcomingseasonandintroduceyoutothenewBoardofDirectorsand staffmemberswhowillcontinuetohelpusadvanceourmission.No.1is closedwiththeTrebleTips,aspacewhereweshareresourcesandtips withourcommunity.Thistime,wehaveabriefwrite-upabouttipsfor parentstosupporttheirmusicians-in-training!
Wehopethismoreall-encompassingapproachtoTheTrebleClef makesallvoicesfeelrepresentedinourwork,asweare–andwill continuetobe–inthistogether.Weareacommunity.Weare MULTICULTURAL.
Insolidarity, TheMulticulturalMusicGroup,Inc.
MMG TEAM
Dr. Luis Mojica Executive Director
Sofía Mojica Chief Operations Officer
Melanie Dyer Development and Fundraising Director
Timofei Rosales Symphonic Youth Program (SYP) Director
Dr. Wilfredo José Burgos Matos Education and Research Specialist
Sari Weintraub Office Admin – Development Assistant
SOCIAL-EMOTIONAL CORNER
Politics, Merengue, and Immigration: Teaching the Dominican 1980s through Music and Community-Making Practices
Wilfredo José Burgos Matos, Ph.D.
MerenguehasbeencentraltoDominicanpopularmusicsincetheearly 20thcentury.DuringtheTrujilloregime,whichlastedfor31years,it becameanationalsymbolofidentity.Thedictatordeclaredmerenguea markerofnationalprideandtookittotheballrooms,turningitinto merenguedesalón,whichwasarespectable,palatablewayofenjoying therhythm,especiallyamongtheelite.Manyphotoshavebeen disseminatedwithTrujillodancing,showinghissupportandlikingforthe genre.ThebandsfavoredbyTrujillorepresentedtheDominicanRepublic internationallyandcementedtheircareerinthebooksofLatinAmerican popularmusic Nonetheless,afterTrujillowasassassinatedin1961and theislandnationwentthroughanextendedperiodofturmoil,including theDominicanCivilWarof1965andtheascenttopowerofJoaquín Balaguer–Trujillo’sright-hand–,merenguetookanexplicitpolitical stance.
Theendofthe1970sandtheentire1980ssawariseinpoliticalmerengue songs,whichshowedthatarhythmoncesupportedbyoneofthemost fearedLatinAmericandictatorshasawayofrefashioningitselfasatool toexpressdissentingopinions.Oneofthesignificantcontributorstothis wasWilfridoVargas,who,inthe80s,wasalreadyresponsiblefortaking merenguetonewinternationalheights OriginallyfromPuertoPlata, Vargasbeganhiscareerinthe1970swiththebandWilfridoVargasysus Beduinos,withwhomherecordedhisfirstalbumin1972 Hegarnered muchattentioninLatinAmericawithhisdistinctivestyleandmultitalentednessasasingerandatrumpetplayer.Hiscareerpickedup wildlyinthe1980swiththerecordingandpopularizationofvarioushit songs,suchas“ElBarbarazo,”“ElJardinero,”and“ElAfricano,”among others
Withinhis70sand80srepertoire,somesongscoveredpoliticalthemes explicitly,suchas“Lilís”(1978assingle;1980inalbum),inwhichitisimplored that,tonotgetanotherLilís,thepeoplehavetofightandmaketheirvoices heard AsIhavepresentedinpreviousresearch,betterknownasLilís,the dictatorUlisesHereauxwasanotablefigureintheDominicanRepublic’s politicalandeconomichistory,particularlyregardingthesugarindustryinthe late19thandearly20thcenturies.Hisadministrationwasresponsiblefor significantchangesinthecountry’seconomiclandscape,notablyby introducingUScapitaltotransformthesugarindustry Lilís’sdecisiontobringin UScapitalwasdrivenbytheneedtomodernizeandexpandtheDominican sugarindustry,whichwasseenasavitalsectorforthecountry’seconomic growth.Atthattime,sugarwasoneofthemostlucrativecommoditiesinthe globalmarket,andtheDominicanRepublic,withitsfavorableclimateand fertilelands,waswell-positionedtocapitalizeonthisdemand.ByinvitingUS investorsfromWallStreetandUSbusinessesintotheDominicansugarsector, Lilísaimedtoleveragetheirtechnology,expertise,andfinancialresourcesto boostproductionand,consequently,thecountry’seconomy.
Lilísin1893.
Lilís
Composer:RamoncitoDíaz
SellamabaUlisesHereaux YledecíanLilís Alhombrequegobernó 20añosnuestropaís.
Eraunhombredecolor quesiempresupodarmuestra deltrágicobuenhumor enlapolíticanuestra
Sidinerolefaltaba parasusobligaciones, Lilísselofabricaba porsacosyporserones
Cuandoalguienseoponía Lilísleofrecíauncargo Ysielhombrenocedía aparecíaenarcolargo
LuchójuntoaLuperón teníanunmismodestino peroestenegroprivón cogióporotrocamino
Alpuebloledabacaña yelpaíserauninfierno Lilíssesabíalamaña dequedarseenelgobierno
Fusilabaalmásbonito porun“quítameestapaja” yalotrodíatempranito lepagabalamortaja UnamuchachaenBaní exclamóentonoburlón cuandopasabaLilís Señores,quénublazo
Lilísconunasonrisa Ysinhacermuchocaso lecontestóaladamita estanubevadepaso.
Luchaporqueentupaís NoaparezcaotroLilís(8x)
Lilís
Translation:WilfredoJoséBurgosMatos
HewasnamedUlisesHereaux andtheycalledhimLilís, themanwhoruled ourcountryfortwentyyears.
Hewasamanofcolor whoalwaysshowed thetragichumor ofourpolitics
Ifhewasshortonfunds forhisobligations, Lilíswouldmakeithimself inloads
Whensomeoneopposedhim, Lilíswouldofferthemapost Andiftheydidn’tgivein, they’ddisappear,nevertobefound
HefoughtalongsideLuperón, theysharedacommondestiny, butthisproudblackman choseadifferentpath.
Hegavethepeopleahardtime, andthecountrywashell, stillLilísknewthetrick Tostayinpower.
He’dexecuteanyone forthesmallestoffense, andthenextmorning he’dpayfortheirfuneral
AyoungwomaninBaní mockinglycriedout whenLilíspassedby, "Mygoodness,whatadarkcloud!"
Lilís,withasmile andhardlyacare, repliedtotheyounglady, "Thiscloudwillsoonpass"
Fightsothatinyourcountry NootherLilísappears(x8)
However,thisinfluxofUScapitalandtheexponentialindustrializationofthe sugarindustryhadsignificantadverseimpacts,particularlyontheworking conditionsofDominicansemployedinthesugarmills Thedriveforefficiency andprofitmaximizationledtotheexploitationofworkers,manyofwhomwere alreadylivinginpoverty Laborersinthesugarindustryfacedlonghours, meagerwages,andofteninhumaneworkingconditions.Theseconditionswere exacerbatedbyalackoflaborregulationsandthegovernment’sinclinationto prioritizeforeigninvestmentoverthewelfareofitscitizens(Burgos,2024).
Cover of El Jeque (1980), where “Lilís” came out.
Althoughnotamerengue,Vargasalsorecorded“Elcomandante”(1981),a salsainhonorofFranciscoAlbertoCaamaño,asoldierandpoliticianwhotook overtheconstitutionalpresidencyoftheDominicanRepublicin1965tobring backtopowerthefirstdemocratically-electedpresident,ProfessorJuanBosch Inthissong,ratherthanapoliticaldissentaboutahistoricalfigure,the spotlightfallsonCaamaño’sprowessandexemplaryleadershipasproofofthe typeofgovernmentthecountrydeserves.
Afterthisspecificexaltationoffigures,shyingawayfromfigure-specificsongs, Vargaswentallinwithsingingaboutcorruptedleadershipwith“Elfuncionario” (1983),asongthatcouldverywellbeappliedtomultipleelectedofficialsofthe timeandbeyond.ThiscompositioniswidelyrememberedbyDominicans whenevertalkinginthecommunityaboutcorruption.Itisanimportant referencetoVargas’useofpoliticalcommentaryinmerengue,seenprimarily duetoitslivelydancingstyle,arhythmassociatedwithcelebrationand happinessratherthandespairandsadnesslikebachata
Elfuncionario
Composer:ManueldeJesús
Habíaunavezunfuncionario, elpresidentelonombrósecretario, desecretarioenunaempresadelEstado. Yasutareaelfuncionariohacomenzado. Llegaban4,5,6,7problemas, yelsecretarioresolviendoesosproblemas.
Perodeprontopensóenelpocotiempo quelequedabacomosecretario, ysupropioproblemanadielosabía, (teníamáslíosqueAnthonyRíos).
Ycomenzó,cogeaquí,cogeallá,cogeallá, cogeaquí,cogeaquí,cogeallá. (Ycomenzó,cogeaquí,cogeallá,cogeallá, cogeaquí,cogeaquí,cogeallá)
Porquepensóqueeraunapensión queledejósupapá,queledejósupapá (Porquepensóqueeraunapensión queledejósupapá,queledejósupapá)
Unmilloncito(milloncito) pa 'sushijitos(sushijitos) ydosmillones(dosmillones) pa 'sumujer(sumujer) Unnegocito(negocito) pa'lsobrinito(sobrinito), cuatroMercedes(Mercedes) pa 'susplaceres(¡ajá!)
Seiscamionetas(cuatroburros) pa 'sufinquita(sufinquita), yencadabarrio(eehee) ochentacasitas.
(Yelfuncionarioyaesunaccionista)
tienetiendaporelConde,tienesupropiaavioneta, tieneunyateenBarahona,BocaChicayLaCaleta. (Yelfuncionarioyaesunmillonario) unaindustriaaquíenHerrerayunhotelalláenHaití, ytambiéntieneganadoenElSeiboyMacorís (Yelfuncionarioyaesunmillonario) enLaVegaunalmacén,tieneuncineenDajabón, ytambiéntienecanalesderadioytelevisión (Yelfuncionarioyaesunmillonario) tiene una casa de cambio, de seis bancos es accionista, tienedocecompraventasyademásesprestamista (Yelfuncionarioyaesunmillonario)
tienegrandesplantacionesyunafincadealgodón, tambiéntieneunmataderoparahacersusalchichón (Yelfuncionarioyaesunmillonario) tienegrandesarrozalesyunafincadecafé, yunafábricadesombrerosdelosqueusaCheché (Yelfuncionarioyaesunmillonario) tienecarrodeportivoyenuncasotansencillo, hastatocalasirenapa'comprarseuncigarrillo. (Yelfuncionarioyaesunmillonario) (Yelfuncionarioyaesunmillón).
Tienegrandesrestaurantes,tienetiendaderepuestos, ycontodoloquetienenuncapagalosimpuestos. (Eslarealidaddeesehombrelegendario).
(Esa es la situación y esa es la situación de ese honestofuncionario) (Quecomenzó,cogeaquí,cogeallá,cogeallá,coge aquí,cogeaquí,cogeallá).
TheOfficial Translation:WilfredoJoséBurgosMatos
Onceuponatime,therewasanofficial, thepresidentappointedhimsecretary, asasecretaryinastate-ownedcompany Theofficialhadalreadystartedhiswork Four,five,six,sevenproblemswouldcome, andthesecretarywassolvingthoseproblems
Butsuddenlyhethoughtabouttheshorttime hehadleftassecretary, andnobodyknewabouthisownproblem (hehadmoretroublesthanAnthonyRíos) Andhestartedtakingfromhereandthere fromhereandthere (fromhereandthere,fromhereandthere,from hereandthere fromhereandthere,fromhereandthere)
Becausehethoughtitwasapension lefttohimbyhisfather,lefttohimbyhisfather. (Becausehethoughtitwasapension lefttohimbyhisfather,lefttohimbyhisfather).
Alittlemillion(littlemillion) forhiskids(hiskids) andtwomillion(twomillion) forhiswife(hiswife). Alittlebusiness(littlebusiness) forhisnephew(hisnephew), fourMercedes(Mercedes) forhispleasures(aha!). Sixtrucks(fourmules) forhislittlefarm(hislittlefarm), andineachneighborhood eightylittlehouses.
(Andtheofficialisnowashareholder) hehasastoreonElConde,hisownlittleplane, hehasayachtinBarahona,BocaChica,andLaCaleta (Andtheofficialisnowamillionaire) anindustryhereinHerreraandahoteloverinHaiti, andhealsohascattleinElSeiboandMacorís (Andtheofficialisnowamillionaire) in La Vega, a warehouse, he has a movie theater in Dajabón, andhealsoownsradioandtelevisionchannels (Andtheofficialisnowamillionaire) he has a currency exchange, is a shareholder in six banks, ownstwelvepawnshopsandisalsoamoneylender.
(Andtheofficialisnowamillionaire) hehaslargeplantationsandacottonfarm, healsohasaslaughterhousetomakehissausage. (Andtheofficialisnowamillionaire) hehaslargericefieldsandacoffeefarm, and a hat factory making hats like the ones the Ché wears.
(Andtheofficialisnowamillionaire) hehasasportscar,andinsuchasimplecase, heevensoundsthesirenjusttobuyhimselfacigarette. (Andtheofficialisnowamillionaire) (Andtheofficialisnowamillionaire).
Hehaslargerestaurantsandapartsstore, andwithallheowns,heneverpayshistaxes (Thisistherealityofthatlegendaryman) (This is the situation, this is the situation of that honest official) (whostartedtakingfromhereandthere,fromhereand there, fromhereandthere)
Thehistoricalmomentthatinspiredallofthesecompositionsstarteddeveloping rightafterthedeathofRafaelTrujilloin1961.Atthemoment,over100,000 DominicansfromthecountrysidebeganprogressivelysettlinginurbanSanto Domingo.Thecity'soutskirtsquicklybecamethepreferredlocaleforpoorlaborers seekingbetterworkingconditionsontheisland.Itisworthnotingthattherecent migrantsfeltabandonedandneglectedduringthedictatorship(1930–1961)when almost90%oftheisland’sbudgetandresourceswereusedtosustainthegrowth oftheDistritoNacional,knownbackthenasCiudadTrujillo However,Balaguer, whostartedhisfirstpresidencybetween1961and1962,promisedtoimprovethe conditionsofthesezonesto“beautify”SantoDomingo Over75%endedupliving ontheshoresoftheOzamaRiver,creatingaddresslessshantytownsnexttothe garbageandaquaticlandfillthatthebodyofwaterhasbecomeinrecenttimes, andthiscontinueddevelopingthroughouthisothermomentsinpower(1966–1978knownas“theTwelveYears”and1986–1996).
Balaguer’sgovernmentimplementedagrarianreformpoliciesthatledtothe consolidationoflandholdingsandthedisplacementofsmall-scalefarmersinrural areas.Manyfarmerswholosttheirlandorlivelihoodsduetothesereformswere forcedtomigratetourbanareasinsearchofalternativemeansofsubsistence Anotherfactorcontributingtorural-to-urbanmigrationduringBalaguer’s presidencywasthepoliticalclimateofthetime.Balaguer’sgovernmentwas characterizedbyauthoritarianismandpoliticalrepression,justlikehispredecessor, Trujillo.Infact,BalagueriscreditedastheintellectualauthoroftheDominican nationalconsciousness,experiencedthroughanti-Haitianrhetoricaswritteninhis bookLaislaalrevés:Haitíyeldestinodominicano(TheUpside-DownIsland:Haiti andtheDominicanDestiny) Theruralpopulation,particularlythoseinmarginalized andimpoverishedregions,facedsocialandpoliticalexclusion,aswellaslimited accesstobasicservicesandopportunities.Thisdearthofresources,coupledwith thelureofbetterlivingconditionsandeconomicprospectsinthecities,prompted manyruralresidentstomigrate.
ThemigrationfromthecountrysidetothecityduringBalaguer’spresidencyhad severalimplications.Onthepositiveside,itcontributedtourbanization,thegrowth oftheindustrialsector,andthediversificationoftheeconomy.Italsoledto improvementsininfrastructureandtheexpansionofurbanservicesto accommodatetheincreasingurbanpopulation However,therapidinfluxof migrantstourbanareasalsopresentedsignificantchallenges.Thecities,especially SantoDomingo,struggledtocopewiththesuddenpopulationgrowth,resultingin overcrowding,poorlybuilthousing,strainedpublicservices,andhigh unemploymentrates.Manyruralmigrantsfacedsocialandeconomic marginalizationinthecities,oftenlivingininformalsettlementsandconfronting barrierstoaccessingeducation,healthcare,andotheressentialservices.
Hence,music,alwaysoneofthemediumsfromwhichwecantracethehistorical developmentofanationwhenwelistentoitclosely,servedasaproperwaytovoice theoppressiveconditionsinwhichhard-workingDominicanswereliving Vargas andmanyofhiscolleaguesrepresenteditintheirsongs,whichhaveremaineda cornerstoneoftheDominicanfightagainstcorruptionandarestillbroughtupin everydayconversationstoalertusofthepervasivenessofhistoryrepeatingitself.
Thesignificanteconomicdownturnandpoliticalinstabilityspurredoneofthe largestmigrationwavesfromtheislandtoNewYorkCity(around169,000; Hernández,1995) Thisperiod,characterizedbyhighunemploymentrates,inflation, andafluctuatingpoliticallandscape,createdintenseeconomicpressureon families.Politicalunrest,fueledbypolicychangesandeconomicreformsthatdid littletoaddressthecountry’sdebtcrisis,leftDominicanswithfewviableoptionsat home.ManyDominicanssawmigrationasapathtofinancialstabilityandafuture fortheirfamilies,transformingNewYorkCity’sneighborhoodsascommunitiesgrew inWashingtonHeights,theBronx,andbeyond.TheseDominicanenclavesreshaped thecity'ssocialandculturallandscape,bringingvibrantexpressionsofDominican music,language,andcustomsthathelpedestablishadeep-rootedpresencein NewYork.
Precisely,the80swerepivotalforDominicansandtheirmusicintheirnewhome. NYCspecificallybecameaspaceforexperimentingwithmerengueitselfand allowedmanynewartiststobreakfreefromtraditionalgenderrolesandsocietal expectationsthatwereinplacebackontheisland.Withanexpanding community,WashingtonHeightstookcenterstageastheenclaveforDominican culture.Manyrhythmsunderwenttransformationinthislocalewithfreshstyles, newformsofchoreographingthedance,andtheemergenceofwomenaslead vocalists,whobroughtnewenergyandperspectivestoagenrethatthe communityloved,supported,anduplifted.
MillyQuezada,the“QueenofMerengue,”exemplifiedthismajorshift.Growingup inWashingtonHeights,hermusicresonatedwithDominicansbalancinglife betweentheirhomelandandtheU.S.Musicservedasawayofbringinga communitythathadenduredtraumabackhomeduetopoliticalandeconomic turmoil,andQuezadacapitalizedonthiswithhergroup,Milly,JocelynyLos Vecinos,whobecameiconsoftheera,capturingtheemotionaljourneyof migrationinsongslike“VolvióJuanita,”whichresonatedwiththejoysand challengesofreturninghome.
Thisdecadealsosawtheriseofall-femalemerenguegroupslikeLasChicasde NuevaYork,whochallengedtraditionalgenderroleswithinLatinmusic.Guidedby producerRaphyPou,theybroughtafresh,energeticapproachtomerengue, incorporatingbothDominicansymbolsandNewYorkimageryintheirmusicand albumart Theirpresencesignaledashifttowardinclusivityandcelebratedthe roleofwomeninshapingthegenre.
Milly,JocelynyLosVecinos Album:Ahoraes !(1989)
LasChicasdeNuevaYork Album:Conamor,ritmoysabor(1987)
TeachingthishistoryinaK-12environmentcangreatlybenefitfromsocialemotionallearning,especiallyinasettinglikeNewYorkCity Váradi(2022), buildingonalongtraditionofsocial-emotionallearningexperts,showsthat musiceducationextendswellbeyondthemusicitself.Herresearchhighlightsthe powerfulsocialandemotionalimpactofmusiceducation,particularlyin developingskillslikerecognizingandunderstandingemotions,fosteringempathy, andenhancingsocialconnections
Social-emotionallearninginthiscontextbecomesabridgetoempathy,helping studentsunderstandthecomplexjourneysofDominicanimmigrantswholeft behindfamiliaryetchallengingenvironmentsinsearchofbetteropportunities. Moreimportantly,itrevealswhymusicissuchaunifyingculturalforceanda sharedexpressionofheritageandresilience.Throughactivitiesthatilluminatethe strugglesandsacrificesofthesecommunities,studentsdevelopempathyforthe motivesandresiliencethatdefinedthismigrationwave.Thisapproachallows studentstoconnectwiththeemotionaldepthdrivingthesejourneysandto appreciatetheongoingaspirationsforstabilityandprosperitythatcontinueto shapeDominican-Americanidentitytoday.
Thefollowinglessonplanoffersasuggestedapproachtomakingthishistory accessibleandengagingforstudentsinurbancontexts.Itprovidesaframework forintroducingtheculturalandemotionaldepthofDominicanmigrationthrough politicalmessagesinmerengue.Thisentrywayfostersempathyandconnection, encouragingstudentstorelatetoandunderstandthispowerfulnarrative
LessonPlan
Subject:Social-EmotionalLearninginPopularSongs Topic:MerengueandPoliticsin1980s:AVoiceforthePeople
Objectives:
3.
1StudentswillbrieflylearnabouttheDominicanhistoryinthe1980s. . 2Theywillbeabletoidentifypoliticalmessagesinsongsfromthetime Theywillunderstandthesocialrealitiesofthemomentanddevelopasenseof empathyforDominicanpeoplewhoexperiencethissituation.
Resources:
3.
1Copiesof“Elfuncionario”inSpanishandEnglish . 2Audioof“Elfuncionario”(1983)byWilfridoVargas . Suggested:ImagesofurbanSantoDomingointhe1980s(protests,urban infrastructure)
1Studentswilllistentothesongwithoutanyhistoricalreference. . Studentswillfollowthesongwiththecopy Theteacherisencouragedtoguide thestudentsinpartssothattheycanfolloweachtranslatedlineproperly.
3
2 Afterlisteningtothesong,theteacherwillaskstudentswhatemotionsthey associatewiththesong,bothsonicallyandrhythmically,andwiththelyrics. Theteacherwillwritethemdownonaboardorasharede-document.
4.
Studentswillthenlook,ifincluded,toimagesofthesocialconditionsinthe DominicanRepublicinthe1980s.
5 Assessment:
Studentswilllistentoabrieflectureaboutthehistoryofthemoment,which servedasinspirationfor“Elfuncionario.”Theteachercanusethearticle providedabove.
1.
Havestudentscomposeasongrelatedtothecurrentpoliticaltimesingroups. Askthemwhatemotionstheywanttoelicitintheircompositions.Theyshould completethewritingin15minutes.Ifinamusicclassroom,theycouldbe encouragedtouseinstruments.Ifnot,acapellasingingisthestandard.
2Havethemsharetheirsongs
3Towrapup,discussthequestionbelow. .
DiscussionQuestions:
1 Assignment:
Howcanyouconnectthethemeofyoursongtowhatyoujustlearnedabout theDominican1980sandpoliticalmessagesinmerenguemusic?
Bringtoclassasongfromthelast20yearsthatcoversapoliticalmessage. SharewhyyouweredrawntoitanditsrelationtothecontextoftheDominican Republic 1.
Seeingthislessonplanputintopracticeinschoolswithinpredominantly Dominicanneighborhoods,wherestudentscandirectlyrelatetotheculturaland historicalcontext,wouldbeprofoundlybeneficial Byexploringpoliticalmessages inmerengue,studentsareencouragedtoconnectwiththeirheritageonan emotionallevel,recognizingtheresilienceandstrugglesthathaveshaped Dominican-Americancommunities.InasettingwhereDominicanstudentsare themajority,thislessoncouldfosteragreatersenseofidentityandpridewhile alsodeepeningtheempathyofnon-Dominicanstudentsabouttheirclassmates’ livedexperiences.
WORKSCITED
BurgosMatos,WilfredoJosé Amargue:TheCommunalEcologiesofaDominican Feeling.PhDdiss.,UniversityofTexasatAustin,2024.
Cassá,Roberto.UlisesHereaux:Eltiranoperfecto.Tobogán,2006.
DominicanStudiesInstitute.“DominicanMusicUSA.”AccessedOctober25,2024. https://www.dominicanmusicusa.com.
Hernandez,Ramona.TheMobilityofDominicansUnderCapitalism:Class,Power, andStratificationintheDominicanRepublic.NewYork:ColumbiaUniversityPress, 2002.
Infante,Fernando.12añosdeBalaguer.SantoDomingo:EditorialLetraGráfica,2003.
Inoa,Orlando,ed.LadictaduradeHereaux.LetraGráfica,2017.
Liberato,AnaS.Q.JoaquínBalaguer:MemoryandDiaspora.NewYork:Lexington Books,2013.
Paulino,Aliro.Balaguer:Elhombredeldestino.SantoDomingo:EditorialNivar,1986.
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SupportingYourMusicianinTraining
TREBLE TIPS
Parents!Itisanotherschoolyear,andyourkidhaschosenaninstrument,andnow it’stimetolearnhowtomasterit.Weknowhowtime-consumingorconfusingthis phaseinyourchildren’slivescouldbe,asitrequirescertainadjustmentsathome. Here,wesharesometipsthatcouldchangeyourchild’srelationshipwiththeir instrumentsignificantly
Inarecentconversation,TimofeiRosales,DirectorofourSymphonicYouth Program,sharedessentialstrategiestohelpyoungmusiciansthriveintheir practiceroutinesathome.Rosaleshighlightsthatasupportiveenvironmentcan makeallthedifference,offeringthesetipsforparentsandguardians:
DesignateaPracticeSpace:Setupaquiet,dedicatedareaforpracticeto helpreducedistractionsandcreateafocusedenvironment.
ConsistentPracticeTime:Establisharegulardailypracticescheduletofoster habitformationandimproveskillretention.
SupportDuringChallenges:Encouragepersistence,especiallyduringdifficult phases.Rosalesstressestheimportanceofstickingtotheroutinetobuild resilience.
AttendConcertsTogether:Goingtoliveconcertsisafunwaytodeepentheir musicappreciation.TheMulticulturalMusicGrouphasafantasticseason plannedoutforourcommunity,sotherearemanyopportunitiestoenjoygood musicwiththeMMGfamily.Usethoseopportunitiesasconversationstarters, discussingwhatwasenjoyableorchallengingabouteachperformance.
EncouragePerformance:Arrangeinformalrecitalsforfamilyandfriendsto boosttheirconfidenceandgivethemasenseofaccomplishment.
Withthesepracticaltips,Rosaleshopestoinspirefamiliestomakemusica consistent,enjoyablepartoftheirchildren’slives
SPECIAL ANNOUNCEMENT
WelcometoOurNewBoardMembers!
Wearethrilledtowelcomethreenewboardmembers,eachbringinga wealthofexpertiseandpassionthatwillundoubtedlystrengthenour mission.
JuanVargasservesasVicePresidentandDirectorofRetailDigitalLending atPonceBank.Anesteemedpromoter,artist,andproducer,Juanhaslong championedDominicanandLatinxculturethroughhisproject,Bachatería,a culturalstapleinNYC.Hisdedicationtopreservingandpromotingtheartistic vibrancyofourcommunityalignsseamlesslywithourmission.
ErumNaqviistheDeputyDirectoratCommunitasAmerica,witha backgroundinprogramdevelopment,strategiccommunications,and transformativesocialresearch.Erum'ssocioeconomicanalysisand educationalconsultingexpertiseismatchedbyhercommitmenttoequity andeconomicmobility.Herexceptionalwritingandcontentdevelopment skillswillbeinvaluableasweexpandourimpact.
EsmeraldaHerrera,DeputyDirectorofCapacityProgramsatEchoingGreen, bringsmorethanadecadeofexperienceinsocialchangethrough entrepreneurshipandcommunitydevelopment.Esmeraldahasmade significantcontributionstotheBronxandHarlemcommunitieswithaglobal perspectiveenrichedbyherworkinIndia,China,Haiti,andtheDominican Republic.Herleadershipindevelopingentrepreneurshipcurriculaand activatingdynamicincubationspaceshighlightshercommitmentto fosteringinnovationandcollaboration.
Thesenewmembersembodyourmission’sspiritandvalues,andweare excitedtoworktogethertocontinuecreatinglastingimpact.
2024-25 SEASON CALENDAR
Thursday,December12|8PM
