ARevolutionfromtheShadows
Atatimewhenwomenhadnoofficialroleingovernance, MariquitaandEncarnaciónleveragedtheirsocialpositions inwaysthatmadethemindispensabletorevolutionary movements.Whilemenwagedwaronbattlefields,thesetwo womenfoughtbattlesinsalons,behindchurchdoors,andin thewhisperedcorridorsofpower(DeGiorgi,2016).
Theirmostradicalact?Creatinganalternativepress.
Mariquita,underapseudonym,wrotefierypamphletsthat encouragedwomentoresistarrangedmarriages,seek education,andparticipateincivicmatters(Rodríguez, 2008).Encarnación,withherpoliticalsavvy,ensuredthese materialsreachedtherightaudiences—womenwhowould laterformthebackboneofUruguay’searliestfeminist circles.
Theirinfluencewasfeared.In1835,Mariquitawasarrested forpublishinganarticlethatopenlymockedconservative leaders,whileEncarnación’shomewasraidedby governmentforceslookingtodismantletheirunderground movement(Barrán&Nahum,1979).Thoughtheywere silencedmomentarily,theirideashadalreadyignitedaquiet revolution.
TheMysteryoftheAma
There’sashadowy,oftenoverlookedchapterinthestoryof MariquitayEncarnación—onethatturnstheirtalefroma straightforwardnarrativeoffeministdefianceinto somethingmorecomplex,evenunsettling.Thestoryofwhat theydidtotheirama(housemistressorcaretaker)remains awhisperedlegend,shroudedinmystery,butitrevealsa deeperlayerofrebellion,onethatblurredthelinesbetween justice,vengeance,andsurvival.
AHouseDivided:TheRoleofthe“Ama”
Theiramawasmorethanjustacaretaker.Intherigiddomestic structuresof19th-centuryUruguay,anamacouldwieldsignificant influenceoverthehousehold,servingasanenforcerofsocialnorms, particularlyforyoungwomen(Pérez,2010).InthecaseofMariquita andEncarnación,theiramawasreportedlyastaunchconservative, deeplyloyaltothepatriarchalorderthatsoughttokeepwomen obedientandpoliticallysilent(Rodríguez,2008).
Accordingtofragmentedhistoricalaccounts,theiramaactedasan informantfortheauthorities,tippingoffgovernmentforcesabout theirundergroundactivities.Someaccountssuggestsheintercepted theirsecretcorrespondence,whileothersclaimsheactivelyworked todismantletheirnetworkbypersuadingelitementoisolatethem socially(González,2005).
Iftrue,thisbetrayalwouldhaveplacedbothwomeningravedanger, especiallyinanerawhendissentagainsttherulingclasscouldlead toimprisonment orworse.
TheReckoning
Whathappenednextisamatterofspeculationandfragmentedoral history.SomeversionsofthestoryclaimMariquitaandEncarnación confrontedtheiramainadramaticshowdown,accusingherof espionageandbetrayal.Itissaidtheylockedherinasmallchamber fordays,forcinghertoconfesshertiestotheauthorities.Others suggesttheyorchestratedamoresubtlepunishment,ensuringshe wassociallyostracized,strippedofinfluence,andleftwithout protection(Scardino,2013).
Themostextremeversionofthetale,thoughdifficulttoverify, suggeststhattheiramawasfounddeadundermysterious circumstances,herbodydiscoveredneartheoutskirtsofMontevideo (Barrán&Nahum,1979).Whetherthiswastheresultoffoulplay,exile, oranunfortunatecoincidenceremainsunknown,buttherumor alonewasenoughtofurthermythologizeMariquitaandEncarnación asfiguresofdangerousdefiance.
LegacyandRediscovery
Despitetheirimpact,MariquitaandEncarnaciónwereerasedfrom officialhistory.Unlikethemilitaryheroescelebratedintextbooks, theircontributionsweredeemedtoodangerous,toodisruptivetofit intothenationalistnarrative(DeGiorgi,2016).
However,inrecentdecades,historiansandfeministscholarshave beguntopiecetogethertheirstoryfromletters,courtdocuments, andtheremnantsoftheirundergroundpress.Today,theirlegacyis celebratedbyactivistswhoseethemaspioneersofUruguay’s women’smovement figureswho,inthefaceofoppression,daredto rewritetherules.
Yet,thelingeringmysteryoftheiramacomplicatestheirlegacy.If shewastrulyatraitor,theiractionsmayhavebeenjustifiedwithin thebrutallogicofresistance.Butifshewasmerelyawomancaught inadangerouspoliticalstorm,thentheradicalheroinesofUruguay’s feministmovementmayhavealsobeen,insomesmallway,villains.
Historyisrarelyneat.ThestoryofMariquitaandEncarnaciónisa testamenttothat—anentanglednarrativeofcourageandsecrecy, justiceandvengeance,wherethelinebetweenrightandwrongis blurredbythehighstakesofrevolution.Theirdefiancecameatthe ultimateprice:executionbyhangingonApril2,1824,inthePlaza Mayor,nowknownasPlazaMatriz.
Theirdeathsweremeanttobeawarning,adisplayofthe system’sruthlessgripoverthoseitenslaved.Butevenasthe noosetightened,theirfinalmomentswerenotjustanend,buta statement.Thoughsilenced,theirstoryrefusedtodisappear, whisperedthroughtheyearsbythosewhosawthemnotas criminals,butassymbolsofresistance—womenwho,intheirlast breath,challengedtheworldthathaddeniedthemfreedom.
Bibliography
Barrán,J.P.,&Nahum,B.(1979).Historiadelasensibilidadenel Uruguay.EdicionesdelaBandaOriental.
DeGiorgi,A.(2016).MujeresypolíticaenelUruguaydelsigloXIX. EditorialFindeSiglo.
González,V.(2005).Lasredesfemeninasenlaindependenciadel Uruguay.UniversidaddelaRepública.
Pérez,M.(2010).Esposas,madresymilitantes:Lamujerenla historiauruguaya.Planeta.
Rodríguez,L.(2008).Laprensaclandestinayelroldelamujeren laresistencia.EdicionesdelSur.
Scardino,M.(2013).Figurasolvidadas:Mujeresenlahistoriadel Uruguay.EBO.
LessonPlan:MariquitayEncarnación–Forgotten FeministRebelsofUruguay
GradeLevels:7-12
Duration:2-3classperiods(45-60minuteseach)
SubjectAreas:History,SocialStudies,Literature,GenderStudies
LessonObjectives
Bytheendofthislesson,studentswillbeableto:
1. Discussthecomplexitiesoffeministresistanceandhowit challengestraditionalnarratives.
AnalyzethehistoricalrolesofMariquitaMartínezandEncarnación Ezcurrain19th-centuryUruguay.
2. Investigatehistoricalbiasesinhowfemalerevolutionariesare remembered(orerased).
4.
3. Evaluateethicaldilemmasinresistancemovements,particularly inrelationtotheirama.
LessonStructure
1.Warm-UpActivity(10minutes)
QuestionPrompt:“Whatmakessomeoneaherooravillainin history?Cantheybeboth?”
Havestudentsbrainstormanddiscussinpairsbeforesharing withtheclass.
2.Mini-Lecture:Uruguayinthe19thCentury(15minutes)
Providehistoricalcontexton: Uruguay’sstruggleforindependence. Roleofwomeninpoliticalmovements.
3.Reading&Discussion(20minutes)
AssignstudentsexcerptsfromMariquitayEncarnación’sstory.
GuidingQuestions:
HowdidMariquitaandEncarnacióndefygendernorms?
Whatmethodsdidtheyusetoresistoppression?
Howdoestheirstorycomparetootherwomen-led movementsinhistory?
3.Reading&Discussion(20minutes)
AssignstudentsexcerptsfromMariquitayEncarnación’sstory.
GuidingQuestions:
HowdidMariquitaandEncarnacióndefygendernorms?
Whatmethodsdidtheyusetoresistoppression?
Howdoestheirstorycomparetootherwomen-led movementsinhistory?
Homework/Extension:
ResearchoneotherwomanfromLatinAmericanhistorywho resistedoppressionandwriteashortsummaryofher contributions.
1.Recap&Review(10minutes)
QuickreviewofkeypointsfromDay1.
Discusshomeworkfindings:“Didyourhistoricalfigurefacesimilar challenges?”
Dividetheclassintothreegroups:
Defense:Arguesthattheamawasavictimofpolitical circumstances.
Prosecution:Arguesthattheama’sbetrayaljustifiedthe response.
Jury:Listensanddeterminesaverdictbasedonarguments presented.
DebriefQuestions:
Howdowejudgeactionsinrevolutionarycontexts?
Canmovementsforjusticeevergotoofar?
Whatdoesthiscasetellusaboutthemoralcomplexitiesof history?
3.CriticalThinkingDiscussion(15minutes)
Presentdifferenthistoricalinterpretations(e.g.,wastheamatruly guilty?).
Discusshowhistoryiswrittenandwhosestoriesareprioritized.
Homework/Extension:
WriteajournalentryfromtheperspectiveofeitherMariquita, Encarnación,ortheamareflectingontheirexperiences.
Day3:Legacy,HistoricalMemory&CreativeApplication
1.TheErasureofWomeninHistory(15minutes)
DiscusswhyMariquitaandEncarnaciónwereforgotten. Comparewithothererasedfiguresinhistory(e.g.,womenin independencemovements,civilrights,etc.).
GuidingQuestions:
Whydosomefiguresbecomenationalheroeswhileothersare erased?
Howdowerecoverforgottenhistories?
2.CreativeAssignment:AlternativeHistory(30minutes)
Studentschooseoneofthefollowingcreativeprojects:
NewspaperArticle:Writeafront-pagearticlefrom1835about theirarrest.
LetterExchange:WritealetterbetweenMariquitaand Encarnacióninthemidstoftheiractivism.
HistoricalFictionScene:Reimaginetheconfrontationbetween Mariquita,Encarnación,andtheamafromafirst-person perspective.
3.Reflection&ClassDiscussion(15minutes)
Studentsshareexcerptsfromtheirprojects. Discusshowstorytellingshapesourunderstandingofthepast.
Assessment&Evaluation
ClassParticipation:Contributionstodiscussionsandtrialactivity.
JournalEntry:Evaluationofhistoricalempathyandperspectivetaking.
CreativeAssignment:Assessedbasedonhistoricalaccuracy, creativity,anddepthofanalysis.
Extensions&Cross-CurricularConnections
Literature:CompareMariquitaandEncarnación’sactivismwith womeninliterature(e.g.,IAmMalalaorPersepolis).
Civics&Ethics:Discusstheroleofcivildisobedienceand resistancemovementsinshapingsocieties.
MediaStudies:Explorehowhistoricalfiguresareportrayedin modernmedia.
SebastiánNatalBringsCandombetoLifeatAmor Cubano,WillBringMariquitayEncarnacióntoLife inJune
ThispastDecemberatAmorCubanoinEastHarlem,SebastiánNatal transformedthenightintoavibrantUruguayancandombe celebration,ignitingtheroomwiththeinfectiousrhythmsanddeep culturalspiritofthisAfro-Uruguayantradition.Fromthefirstbeatof thedrumstothelastresonantnote,theaudiencedidn’tjustlisten— theyfeltthemusic,movingtoitspulseasifcarriedbytheheartbeat ofMontevideoitself.
Candombeismorethanamusicalstyle;itisalivingtradition,a culturalinheritancebroughttoUruguaybyenslavedAfricansand preservedthroughcenturiesofresistanceandadaptation.Atitscore arethetamboriles,threedistincthanddrums thechico,repique,and piano thatcreatetheintricate,syncopatedrhythmsthatdefinethe genre.TraditionallyplayedinLlamadas,thegrandstreetparadesof Montevideo’sBlackcommunities,candombeisbothacelebration andastatementofidentity,history,andresilience.
SebastiánNatal’sperformancechanneledthisenergy,blendingthe powerofAfro-Uruguayandrummingwiththemelodicrichnessof contemporaryjazzandfolkinfluences.Theinterplayofrhythmsbuilt anatmospherethatwasimpossibletoresist feettapped,hands clapped,andbodiesswayed,immersedinthepercussiveforcethat haslongbeenthesoulofUruguay’sculturallandscape.
Beyondtheelectrifyingmusicianship,whatmadethenighttruly specialwasthesenseoftogetherness.Peopledanced,children movedinstinctivelytothebeat,andthespiritofcandombefilledthe spacewithjoyandconnection.Natal’sabilitytobridgetraditionwith modernmusicalstorytellingensuredthateventhoseexperiencing candombeforthefirsttimeleftfeelingpartofsomethinggreater.
Almosttwodecadesago,Natalcollaboratedinthispiecethatwe inviteallofyoutoenjoy,sothatyougetacquaintedwiththedepthof thesetwowomen’sstory.
aReyes,LaReinadelosPalos, theYearwithAncestralRhythms
nzaDominicana openedtheyearinspectacularfashionwith eyes,LaReinadelosPalos,whoseelectrifying nceatAlianzaDominicanainJanuary medthespaceintoavibrant,livingarchiveof nmusicaltraditions.Thenightpulsedwiththe erofpalos,salves,andcongos,deeplyrooted hatcarrycenturiesofhistory,resistance,and on.
minicanos(oratabales)aretheheartbeatofthe Afro-Dominicanspiritualtradition,apercussivestyle performedwithtall,handcrafteddrums,oftenplayedin sacredandcommunalgatherings.Withtheirdeep, resonanttonesandcall-and-responsevocals,palos embodyboththeisland’sAfricanheritageanditsliving culturalevolution.Salves,aspiritualchant-drivenstyle, intertwinesseamlesslywithpercussiverhythms,creating analmosttrance-likeconnectionbetweenthemusicians andtheaudience.Congo,withitsdrivingbeatsand communalenergy,reflectstheAfrican-descended communities'resilienceandstrength,bringingtogether movementandmusicinanecstaticexpressionofidentity.
FranciaReyes,amasteroftheserhythms,enmeshesthem intoasingularsoundscapethatisbothancientand contemporary.Herperformancewasmorethanaconcert: itwasaceremonyofmemoryandjoy,aspacewherethe UpperManhattanandBronxcommunitycametogether, notjustasspectators,butasactiveparticipantsinan ongoingtradition.Weextendourdeepestgratitudeto AlianzaDominicanaforhostingthisunforgettableevening.
ThirdYear,ThirdMagicNight:YasserTejedaLights UpDutchBaby
Forthethirdyearinarow,YasserTejedabroughtthepulseofAfroDominicanrhythmstoDutchBabyBakery,turningtheeveningof Thursday,February27intoapowerfulcelebrationofDominican IndependenceDayandcommunityspirit.Theenergywaselectric little onesdancedwithwide-eyedexcitement,longtimefanssangalong, andnewcomersfoundthemselvesmovingtotheirresistiblebeatsof palos,congo,andsalve,thedeep-rootedsoundsoftheDominican Republic.Tejeda’smusicisabridgebetweenpastandpresent,weaving ancestralrhythmswithcontemporarygrooves.
ThepackedhouseatDutchBabyswayed,clapped,anddanced, embracingtheessenceofwhatTejeda’smusicrepresents—aliving, breathingexpressionofDominicanidentity.Fromtheintricateguitar riffstothehypnoticdrumpatterns,everynoteresonatedwiththe crowd,provingthatthismusicismorethansound;it'shistory,memory, andmovement.
TheMMGextendsaheartfeltthankyoutoYasserTejedaandhis teamforsharingthisjourneywithusonceagain.Special appreciationgoesouttoKarahRempe,HugoPinto,andthe incredibleDutchBabystaff,whonotonlyhostedtheeventbutmade itfeellikehome.
BibliographyonAfro-DominicanMusicand
Culture
ForthoseinterestedinAfro-Dominicanmusic,itscultural significance,anditsevolution,thefollowingworksprovideessential scholarship.Thesetextsofferhistorical,ethnographic,andanalytical insightsintotraditionssuchaspalos,salves,congos,andgagá,while alsoexploringtheintersectionofmusic,identity,andraceinthe DominicanRepublicanditsdiaspora.
Books&Articles
Davis,MarthaEllen.Ladesaparicióndelasartesmusicales tradicionalesenlaRepúblicaDominicana.InDanzasybailes folklóricosdominicanos.SantoDomingo:Taller,1975.
AcriticalanalysisofthedeclineoftraditionalDominican musicalartsandthefactorscontributingtotheir disappearance.
Davis,MarthaEllen.AfroDominicanReligiousBrotherhoods: Structure,Ritual,Music.Ph.D.diss.,UniversityofIllinois,1976.
Afoundationaldissertationexploringthestructure,rituals,and musicalexpressionsofAfro-Dominicanreligious brotherhoods,withafocusonsalvesandpalos.
Davis,MarthaEllen.VocesdelPurgatorio:Estudiodelasalve dominicana.SantoDomingo:EdicionesMuseodelHombre Dominicano,1981.
Anin-depthethnographicstudyonsalves,examiningtheir religiousandcommunalsignificanceinAfro-Dominican culture.
Davis,MarthaEllen.“MusicandBlackEthnicityintheDominican Republic.”InMusicandBlackEthnicityintheCaribbeanandSouth America,editedbyGerardBéhague.NewBrunswick,NJ: Transaction,1994.
AcomparativestudyoftheroleofmusicinshapingBlack identityintheDominicanRepublic,highlightingthesociopoliticaldynamicsthatinfluencemusicaltraditions.
Guilamo,Daly.“GagáPa’lPueblo:ACriticalAfro-Dominican CelebrationinNewYorkCity.”JournalofPanAfricanStudies9,no. 10(2016):31-45.
AnalyzesGagá’sadaptationandtransformationinthe Dominicandiaspora,particularlyinNewYorkCity,asaformof resistanceandculturalpreservation. Piper,Daniel.Urbanization,Gender,andCulturalEmergenceinthe MusicofDominicanPopularReligion.Ph.D.diss.,BrownUniversity, 2012.
Examinestheintersectionofurbanization,genderroles,and popularreligiousmusicintheDominicanRepublic,witha focusonpalosandAfro-Dominicanspiritualtraditions.
AngelinaTallaj:PioneeringAfro-DominicanEthnomusicology
AngelinaTallajisthefirstDominicanethnomusicologisttoextensively researchAfro-Dominicanmusic.Herpioneeringworkhasbeen pivotalinshapingrecentunderstandingsofhowAfro-Dominican musicaltraditionshaveevolved,particularlywithinthediaspora. Tallaj’sscholarshipprovidesanuancedexplorationofthecultural, historical,andsocialcontextsthathaveinfluencedpalos,salves,and gagá,analyzingtheirtransformationinresponsetochanging Dominicanidentities.
Tallaj-García,AngelinaMaría.PerformingBlacknessinaMulatto Society:NegotiatingRacialIdentitythroughMusicinthe DominicanRepublic.2015.CUNYAcademicWorks. https://academicworks.cuny.edu/gc_etds/629
ThisgroundbreakingdissertationexploreshowAfroDominicanmusicfunctionsasaspacefornegotiatingracial identity,particularlyinaDominicansocietythatoftendenies ormarginalizesBlackness.
