Welcome to the 26th Annual National Cuatro Festival
Saturday, November 2, 2024 at 7pm
Harris Theater 205 East Randolph, Chicago, IL 60601
LA MAGIA DEL CUATRO Y GÜIRO
The Magic of the Cuatro & Güiro
Emcees IRIS BERRÍOS & MIKE OQUENDO
ACT I
Latin Music Project
ACT II
Güiro Trio
Mónika Nieves, Talí Ortiz & Rosaura Batista
Cuatrista: Modesto Nieves
Dedication & Intermission
ACT III
Luis & Lisvette Sanz Group
GRAND FINALE
Presented by Puerto Rican Arts Alliance
Our Mission
The Puerto Rican Arts is dedicated to preserving Puerto Rican culture by maintaining our traditions, promoting our arts, providing educational opportunities in arts programming and cultivating pride in our heritage for future generations.
To learn more about our programs, events, activities and/or become a member: Visit the Puerto Rican Arts Alliance at www.praachicago.org
Enriching lives, inspiring new possibilities.
At U.S. Bank, we believe art enriches and inspires our community. That’s why we support the visual and performing arts organizations that push our creativity and passion to new levels. When we test the limits of possible, we find more ways to shine.
U.S. Bank is proud to support the Puerto Rican Arts Alliance.
Featured Artists
Luis Sanz
Modesto Nieves
Lisvette Sanz Rosaura Batista
Neftali Ortiz
Monika Nieves
José L. Rivera Marrero
Thank You to Our 2024 National Cuatro Festival Sponsors!
Iris Berríos is a News Reporter for the Telemundo Chicago News, which airs Monday through Friday at 4:00 PM, 4:30 PM, and 5:00 PM. It also airs on Saturday and Sunday at 5:00 PM and 10:00 PM on Telemundo Chicago, the local station serving the Spanish-speaking community in the Chicago, Illinois area.
As part of the Telemundo Chicago News team, Berrios reports breaking news and the most important stories for viewers in the Chicago area. Berrios joined Telemundo Chicago in 2014. Before joining Telemundo Chicago, Berrios worked as a reporter for Univision 26 Orlando / WVEN from 2006 to 2014.
Berrios has won four Chicago/Midwest Regional NATAS Emmy Awards and was also honored with the Paoli Award in 2012, recognizing her as Reporter of the Year in Puerto Rico and Orlando, Florida. Berrios earned her degree in Journalism from the University of the Sacred Heart in Puerto Rico. Berrios is originally from Ponce, Puerto Rico. To read more about Iris Berrios, please visit her Facebook page and follow her on Twitter and Instagram.
Mike Oquendo, Producer and Creator
Mike Oquendo is a proud Chicago born Puerto Rican with a great love for his city and its people. Mike produces Comedy, Theater and Music events both in Chicago and across the country. He previously served on the Board for National Academy of the Recording Arts & Sciences which created the very first Latin Grammy Awards. He is a concept contributor on 3 HBO Latino specials and produces a Community Partner Night that raises money for local not-for-profit organizations. Mike is one of only a handful of Latinos to have trained at New York’s “Commercial Theater Institute” and his productions have been staged in theaters in Florida, New York, Puerto Rico, New Jersey, and Connecticut. Mike is also a public speaker and professional emcee, his public speaking credits include the Illinois Legislative Latino Caucus, MSNBC, the Federal Reserve Bank, The University of Chicago and the Illinois Institute of Technology.
Dear Friends,
The Puerto Rican Arts Alliance (PRAA) is delighted to present the 26th National Cuatro Festival (NCF) at the Harris Theater in Chicago. We warmly welcome you to this long-standing and iconic event, and we deeply appreciate your support and dedication over the years as part of our enthusiastic audience.
It is a special honor this year to dedicate the festival to Carlos Hernández Falcón, the founder and former Executive Director of PRAA. Carlos recognized the need within our community to promote and preserve Puerto Rican culture and traditions. His vision made it possible for PRAA to fulfill its mission of educating future generations about Puerto Rican music, arts and fostering pride in our shared heritage.
Carlos’s tireless work in establishing PRAA’s programs and reaching underserved communities has had a lasting impact, and we are deeply grateful for his contributions.
Today, PRAA continues to thrive and expand both locally and nationally. In the spring of 2024, PRAA established an exciting new partnership with Inter-American University Metro in Puerto Rico, where we have opened a dedicated office. Under the leadership of Professor Luis Sanz and with the support of local artists and community leaders on the Puerto Rico Advisory Board, PRAA is now building even stronger cultural connections and opportunities.
Message from the Board Chairwoman
In the past year, PRAA served approximately 2,000 students through its programs. These programs, led by experienced Puerto Rican artists, offer students a unique opportunity to immerse themselves in the rich history and culture of Puerto Rican music, art, and dance.
I want to give special thanks to the PRAA board of directors for their dedicated service. I am excited to have been appointed as PRAA’s first chairwoman. This year also marks an exciting transition as we welcome our new Executive Director, Dr. Ignacio López. Dr. López has infused new energy into PRAA and is fully committed to advancing our mission. As a former PRAA Board Chair, he is no stranger to our work, and we are confident that his leadership will guide us toward even greater success.
With your generous support, PRAA will continue to expand its programs, serving even more students in our community and beyond. Our music, visual, and performing arts programs are made possible by contributions from individuals like you. Your donations directly impact the lives of our students and help us preserve Puerto Rican culture for future generations.
To make a contribution, please visit our website at www.praachicago. org and click on the “DONATE” button. Every gift, large or small, makes a difference. Thank you for your
ongoing support and for being part of PRAA’s journey. We look forward to continuing this important work together.
Sincerely,
Sylvia Mojica-Castillo, PsyD. Board Chairwoman, Puerto Rican Arts Alliance
Queridos Amigos,
Puerto Rican Arts Alliance (PRAA) se complace en presentar el 26th Festival Nacional del Cuatro (NCF) en el Teatro Harris en Chicago. Les damos una cálida bienvenida a este icónico evento que ha perdurado durante años, y agradecemos profundamente su apoyo y dedicación a lo largo de los años como parte de nuestra entusiasta audiencia.
Este año es un honor especial dedicar el festival a Carlos Hernández Falcón, fundador y exdirector ejecutivo de PRAA. Carlos reconoció la necesidad en nuestra comunidad de promover y preservar la cultura y las tradiciones puertorriqueñas. Su visión hizo posible que PRAA cumpliera su misión de educar a las futuras generaciones sobre la música y las artes puertorriqueñas, fomentando el orgullo por nuestro patrimonio compartido. El incansable trabajo de Carlos para establecer los programas de PRAA y llegar a las comunidades desatendidas ha tenido un impacto duradero, y estamos profundamente agradecidos por sus contribuciones.
Hoy, PRAA sigue prosperando y expandiéndose tanto a nivel local como nacional. En la primavera de 2024, PRAA estableció una nueva y emocionante colaboración con la Universidad Interamericana Metro en Puerto Rico, donde hemos abierto una oficina. Bajo el liderazgo del profesor Luis Sanz y con el apoyo de artistas locales y líderes comunitarios en la Junta Asesora de Puerto Rico,
Mensaje de la Presidenta de la Junta Directiva
PRAA está construyendo conexiones culturales aún más fuertes y creando nuevas oportunidades.
En el último año, PRAA atendió a aproximadamente 2,000 estudiantes a través de sus programas. Estos programas, dirigidos por experimentados artistas puertorriqueños, ofrecen a los estudiantes una oportunidad única de sumergirse en la rica historia y cultura de la música, el arte y la danza puertorriqueña.
Quiero agradecer especialmente a la junta directiva de PRAA por su dedicado servicio. Estoy emocionada de haber sido nombrada como la primera presidenta de la junta de PRAA. Este año también marca una emocionante transición, ya que damos la bienvenida a nuestro nuevo Director Ejecutivo, el Dr. Ignacio López. El Dr. López ha inyectado nueva energía en PRAA y está plenamente comprometido con el avance de nuestra misión. Como ex presidente de la Junta de PRAA, no es ajeno a nuestro trabajo, y estamos seguros de que su liderazgo nos guiará hacia un éxito aún mayor. Con su generoso apoyo, PRAA continuará expandiendo sus programas, atendiendo a aún más estudiantes en nuestra comunidad y más allá. Nuestros programas de música, artes visuales y artes escénicas son posibles gracias a las contribuciones de personas como usted. Sus donaciones impactan directamente en la vida de nuestros
estudiantes y nos ayudan a preservar la cultura puertorriqueña para las futuras generaciones.
Para hacer una contribución, visite nuestro sitio web en www. praachicago.org y haga clic en el botón “DONAR”. Cada donación, grande o pequeña, marca la diferencia. Gracias por su continuo apoyo y por ser parte del viaje de PRAA. Esperamos continuar este importante trabajo juntos.
Atentamente,
Sylvia Mojica-Castillo, PsyD. Presidenta de la Junta Directiva, Puerto Rican Arts Alliance
SAVE THE DATE!
Join us as we celebrate our 7th Annual National Coquito Festival!
Saturday, December 7, 2024
6–9pm
Rincon Family Services
3710 N. Kedzie Ave
Chicago, IL 60618
Free Parking on premises and off street
LIVE MUSIC, APPETIZERS, DRINKS, RAFFLE & COQUITO!
HOST COMMITTEE
Co-Chairs
Willy Montes de Oca and Melanie Flores
Lissete Cabrera
Aurora Hidalgo
Orlando “Coco” Lopez
Luisa Quiñones
Mercedes Feliz
Domingo Casanova
Madeline Cruz
Nancy Ward
Carmen Gonzalez
Coquito Makers
Iris Mateo
Gloria Rita Lugo
Rennette “Reni” Rodriguez
Ada Iris Diaz
Xavier Rios
Judith “Luna” Velez
It is with immense pride and excitement that the Puerto Rican Arts Alliance (PRAA) presents this year’s National Cuatro Festival. The National Cuatro Festival has become a beloved tradition, a celebration that fills the air with the vibrant sounds of Puerto Rico, and signals the start of the holiday season for many of us.
Tonight’s program highlights the incredible talent of Luis Sanz, a cuatrista whom many of us have watched grow into an extraordinary musician over the years. We are also honored to feature the esteemed cuatrista Modesto Nieves, along with a distinguished lineup of musicians, including Lisvette Sanz, Jose Rivera, Tali Ortiz, Rosaura Batista, and Monika Nieves. This collaboration promises an unforgettable experience, blending both traditional and contemporary Puerto Rican music in a truly heartfelt performance.
One of the most rewarding aspects of tonight’s event is seeing our PRAA Latin Music Project (LMP) students take the stage. These young performers have worked tirelessly under the guidance of our gifted teachers and mentors. They exemplify our core mission: providing high-quality art and music education that nurtures the next generation.
As we look toward the future, PRAA is expanding its footprint and programs. In this new chapter of PRAA, I am excited about our journey ahead. Later this year, we will be announcing our 2030 strategic plan, which will shape the growth of our music education, arts education, and cultural programming in Chicago and beyond. The impact we make serving over 2,000 young people annually and reaching nearly 30,000 audience members would not be possible without the generous support of our donors, sponsors, and volunteers. This year, we are especially grateful to Goya for being our presenting sponsor.
Your continued support has made all of this possible. I encourage you to visit our website at www. praachicago.org and consider making a donation to help sustain these vital programs. Every contribution allows us to bring the joy of music and arts education to even more students, families, and communities.
I wanted to send a special thank you to Carlos Hernandez, Founder of the Puerto Rican Arts Alliance, who over 27 years ago had a dream to promote the Puerto Rican Arts and Culture, and here we are today! I am grateful for his leadership and mentorship. Thank you, Carlos! Thank you all for being part of this extraordinary night.
Message from the Executive Director
Warm regards,
Dr. Ignacio López Executive Director, Puerto Rican Arts Alliance
Welcome to the 26th Annual National Cuatro Festival!
¡Bienvenidos al Festival Nacional del Cuatro!
Es con inmenso orgullo y entusiasmo que Puerto Rican Arts Alliance (PRAA) presenta el Festival Nacional del Cuatro de este año. El Festival Nacional del Cuatro se ha convertido en una tradición querida, una celebración que llena el aire con los vibrantes sonidos de Puerto Rico y marca el inicio de la temporada navideña para muchos de nosotros.
El programa de esta noche destaca el increíble talento de Luis Sanz, un cuatrista a quien muchos de nosotros hemos visto crecer y convertirse en un extraordinario músico a lo largo de los años. También nos honra presentar al estimado cuatrista Modesto Nieves, junto con una distinguida alineación de músicos, incluyendo a Lisvette Sanz, José Rivera, Tali Ortiz, Rosaura Batista y Monika Nieves. Esta colaboración promete ser una experiencia inolvidable, combinando tanto la música tradicional como la contemporánea de Puerto Rico en una actuación verdaderamente emotiva.
Uno de los aspectos más gratificantes del evento de esta noche es ver a nuestros estudiantes del Latin Music Project (LMP) de PRAA subir al escenario. Estos jóvenes artistas han trabajado incansablemente bajo la guía de nuestros talentosos maestros y mentores. Ellos ejemplifican nuestra misión central: proporcionar una educación artística y musical de alta calidad que fomente a la próxima generación.
Mirando hacia el futuro, PRAA está expandiendo su presencia y programas. En este nuevo capítulo de PRAA, estoy emocionado por el camino que tenemos por delante. Más adelante este año, estaremos anunciando nuestro plan estratégico 2030, que dará forma al crecimiento de nuestra educación musical, educación artística y programación cultural en Chicago y más allá. El impacto que logramos, sirviendo a más de 2,000 jóvenes anualmente y alcanzando a casi 30,000 miembros del público, no sería posible sin el generoso apoyo de nuestros donantes, patrocinadores y voluntarios. Este año, estamos especialmente agradecidos con Goya por ser nuestro patrocinador principal. Su continuo apoyo ha hecho todo esto posible. Los invito a visitar nuestro sitio web en www.praachicago. org y considerar hacer una donación para ayudar a mantener estos programas vitales. Cada contribución nos permite llevar la alegría de la educación musical y artística a más estudiantes, familias y comunidades. Quiero enviar un agradecimiento especial a Carlos Hernández, fundador de Puerto Rican Arts Alliance, quien hace más de 27 años tuvo el sueño de promover las artes y la cultura puertorriqueña, ¡y aquí estamos hoy! Estoy agradecido por su liderazgo y mentoría. ¡Gracias, Carlos! Gracias a todos por ser parte de esta noche extraordinaria.
Saludos cordiales,
Dr. Ignacio López Executive Director, Puerto Rican Arts Alliance
PRAA Board of Directors
Sylvia Mojica-Castillo, PsyD Chair
Psychotherapist Consultant
Robert Pantoja Treasurer
Market President Hinsdale Market, BMO Harris Bank
Diana Maldonado Secretary
Former VP, News Noticiero Telemundo, WSNS-TV Telemundo Chicago
JeNyce Boolton VP, Midwest Region –Community Affairs, U.S. Bank
Cheryl Cooke Director of Planning & Development, Cook County Illinois
Angel Gutierrez
VP Institutional Advancement, Catholic Charities / Archdioceses of Chicago
Dr. Ernesto Matias Former Education Officer, Illinois State Board of Education
Stacy O’Brien, JD VP Grid Strategy, LUMA
Carmen Vega Community Relations Director, NBCU Local Chicago
Cristina Vera Founder & CEO, Vera Creative, Inc.
PRAA Staff
Ignacio Lopez, Ed.D, Executive Director
Carlos Hernandez, Founder & Senior Advisor
Melanie Flores, Ed.D, Senior Program Director
Nancy Ward, Development Director
Jose Luis Illanes, Somos Uno Project Director
Jorge Felix, Studio Arts & Exhibits Program Director
Herbert Moreno, Accountant
Jose Carrasquillo, Senior Latin Music Project Manager
Zabdiel Santiago, Latin Music Project Manager
Carmen Gonzalez, Facility Manager
Sebastian Díaz de Villegas, School Coordinator
Adrian Ortega, Site Coordinator & Marketing Coordinator
Isabel Gomez, Site Coordinator, Somos Uno
Luis Zuñiga, Community Engagement Coordinator
Benjamin LaBoy, Music Instructor
Darnisha Bass, Accounting Assistant
Reynaldo Rodriguez, Studio Arts Instructor
Consultants
Complement Consulting
Cristina Vera, Vera Creative, Inc.
Ernesto De La Torre, Accounting Consultant
Eric Wagner, True Story, Inc.
Kopczyk, Osher & Scott, Accountants
Landon Bone Baker Architects
Steve D. Friedland, Attorney
Torres Consulting, Inc
PRAA Advisory Committee Chicago
Jose Barrera, Columbia Explorers Academy
Julio Cruz, Community Resident
Michael Foster, Whitehall Hotel
Carmen Hernandez, Clayco
Pablo Matias, U.S. Bank
Edwin Mendez, Community Resident
Martin Montes
David Olivencia, Accenture
Arnaldo Rivera, Navy Pier
Edwin Rivera, Metaphrasis
Milton Rodriguez, Prosper Senior Solutions
Heriberto (Ed) Ruiz, R4 Commercial Real Estate Solutions
Angelo Sanchez, Community Advocate
Isabel Tellez, Consultant
Cristina Vera, Vera Creative, Inc
David Woolwine, Impact Squared Group
Midwest
Aly Echevarria, Community Resident
Damaris Montano, Puerto Rican Society of Waukegan
Angel Perez, Hijos de Borinquen
Puerto Rico Advisory Board
Willie Denton, Kroma Associates, LLC.
Lidia Mercado de Hernandez, Empresas Hernandez Mercado
Sara Echevarria, Microsoft
Luis Sanz, Artist and Professor at Inter-American University
Elizabeth Vazquez, Independent Business Woman
Luis Enrique Romero, Actor and Artist
Carlos Hernandez, Founder and Senior Advisor, Puerto Rican Arts Alliance, Chicago, IL
Ruben J. Amador Median, Programa de Musica Director, Instituto de Cultura Puertoriquena
Ignacio Lopez, Ed.D, Executive Director, Puerto Rican Arts Alliance
Marilina Wayland, Chancellor, Inter-American University Metro Campus San Juan Puerto Rico
Latin Music Project Parent Committee
Alberto Boni, Sr. Jaime Guerrero
Clara Guerrero
Magaly Marrero
Gabriel Mendoza
Carlos Palacios
Theresa Paucar
Myrna Perez
Eliezer Perez
Patricia Rivero
Linda Serrano
Lia Zumba
Dear audience, if you will allow me, I would like to say a few words.
Almost three decades ago, I founded this beautiful organization called the Puerto Rican Arts Alliance together with a board of directors that supported me and shared a cultural vision filled with educational programs and events for our community. I want to share this dedication with you tonight. You have been the pillar that has supported the National Puerto Rican Cuatro Festival throughout all these years. We have been pioneers in bringing our culture to prestigious concert halls, such as the Roberto Clemente Academy, the Copernicus Center, the James Simpson Auditorium at the Field Museum, the Chicago Theater, the Auditorium Theatre, and in recent years, the Harris Theater.
In this dedication, I want to express my gratitude to some special people: to the members of the board of directors of the Puerto Rican Arts Alliance, both those present today and those who are no longer with us, especially Juan Méndez. Also, to my team, the foundations, corporations, Hispanic elected officials, individual
donors, my colleagues in Puerto Rico, and now our new executive director, Dr. Ignacio Lopez. Collectively, you are the heart of our mission to enrich and preserve Puerto Rican culture. Thanks to your support, we have been able to educate and impact thousands of young people and children through our programs.
I also cannot fail to mention a very special thanks to my dear mother, Santa Hernández, who is no longer with us, and who supported me voluntarily in the early days of PRAA, as well as to my nephews, sisters, and my dear husband, Willy Montes de Oca.
Finally, I want to leave you with a special message: “I did my part“ in laying the seed for growth at the Puerto Rican Arts Alliance. I committed myself to this work because I deeply believe in the importance of defending Puerto Rican culture through our identity as a people. We cannot allow our Spanish language and our cultural idiosyncrasy to be lost.
I ask all of you to continue contributing by doing your part in nurturing our future growth.
Long live our Puerto Rican identity!
Carlos Hernandez Falcon Puerto Rican Arts Alliance, Founder & Former Executive Director
Estimado público, si me lo permiten, quisiera decir unas palabras. Para mí, es importante dirigirme a ustedes en español.
Hace casi tres décadas, fundé esta hermosa organización llamada Puerto Rican Arts Alliance junto con una junta directiva que me brindó su apoyo y compartió una visión cultural llena de programas educativos y eventos para nuestra comunidad.
Quiero compartir esta dedicación con ustedes esta noche. Ustedes han sido el pilar que ha sostenido el Festival Nacional del Cuatro Puertorriqueño durante todos estos años. Hemos sido pioneros en llevar nuestra cultura a prestigiosas salas de concierto, como la Academia Roberto Clemente, el Copernicus Center, el James Simpson Auditorium del Field Museum, el Chicago Theater, el Auditorium Theatre, y en los últimos años, el Harris Theater.
En esta dedicación, quiero expresar mi agradecimiento a algunas personas especiales: a los miembros de la junta directiva de Puerto Rican Arts Alliance, tanto a quienes están hoy como a quienes ya no nos acompañan, en especial a Juan Méndez. También, a mi equipo de trabajo, las fundaciones, corporaciones,
funcionarios electos hispanos, los donantes individuales, a mis colegas en Puerto Rico y ahora nuestro nuevo director ejecutivo el Dr. Ignacio Lopez. Ustedes, colectivamente, son el corazón de nuestra misión de enriquecer y preservar la cultura puertorriqueña. Gracias a su apoyo, hemos podido educar e impactar a miles de jóvenes y niños con nuestros programas.
Tampoco puedo dejar de mencionar un agradecimiento muy especial a mi querida madre, Santa Hernández, que ya no está entre nosotros, y que me apoyó voluntariamente en los comienzos de PRAA, así como a mis sobrinos, hermanas, y a mi querido esposo, Willy Montes de Oca.
Finalmente, quiero dejarles un mensaje especial: yo puse mi granito de arena, como decimos cariñosamente. Me comprometí con esta labor porque creo profundamente en la importancia de defender la cultura puertorriqueña a través de nuestra identidad como pueblo. No podemos permitir que se pierdan nuestro idioma español y nuestra idiosincrasia cultural.
Les pido a todos ustedes que también sigan poniendo su granito de arena.
¡Que viva la puertorriqueñidad!
Carlos Hernandez Falcon Puerto Rican Arts Alliance, Founder & Former Executive Director
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Supporting the arts
The fabric of Chicago is woven by its diverse communities. For nearly 175 years, Peoples Gas has been a part of this fabric by delivering natural gas safely and reliably. We are proud to support the Puerto Rican Arts Alliance and the 26th Annual National Cuatro Festival and its mission to preserve Puerto Rican culture by maintaining traditions, promoting arts, providing educational opportunities in arts programming and cultivating pride in Puerto Rican heritage for future generations.
Together, we are empowering the communities we serve.
We would like to take this opportunity to express our sincere gratitude to the Puerto Rican Arts Alliance for its dedicated efforts in promoting and preserving Puerto Rican culture.
Their commitment to showcasing the finest traditional music and artistic expressions enriches our community and fosters a deeper appreciation for our cultural heritage. Thank you for your invaluable contributions.
Student and parents, ask your counselor how you can have this important award added to your permanent school records.
For additional information visit: MultilingualChicago .us
This message is sponsored by Multilingual Chicago and ASCD.
Cuatro History and Facts
The following are frequently asked questions about the origin, history and tradition of the cuatro.
Written by William Cumpiano of the Puerto Rican Cuatro Project.
Why it is called a cuatro (which means “four”) if it has ten strings?
The answer may lie in the fact that the earliest cuatros had only four strings. However, it has been pointed out that the ancient Moors (who occupied most of Spain for almost 800 years until 1492) had a word al-qatr that meant “stringed instrument.” There was also an ancient Persian four-string instrument called the chartar (pronounced kar-tar). So the word cuatro may not necessary originate from the Spanish word “four” but from a more ancient word and meaning suggesting something else altogether.
Where did the cuatro come from?
The antecedents of all the stringed instruments of Latin America can ultimately be traced to 16th and 17th century Spain, which according to Cervantes abounded in plucked stringed instruments of all shapes and sizes. Stringed instruments came to America in large numbers during the Spanish colonization of the Americas. Early edicts archived in Spain tell us how the Catholic kings commanded the colonizers to take stringed instruments into the New World in order to help them observe and spread the faith.
Stringed instruments of Spain were themselves derived from Moorish and Persian instruments of great antiquity. Research conducted by the Puerto Rican Cuatro Project points to at least two Spanish instruments that may have inspired the early jíbaros (country folk of Puerto Rico) to make their own cuatros. The banduria was a small, four-string Spanish instrument of the 17th century which had the same tuning intervals as the earliest four-string cuatros made in the hilly countryside in central Puerto Rico. These rustic instruments were seen on the island as late as the 1950s. In the 18th century, the
banduria evolved to have ten (5 double course) wire strings. These later bandurias were tuned and strung identically to the cuatros of the 19th and 20th century, suggesting that they were likely the models for the cuatros which abounded on the northern coast of Puerto Rico, particularly in the large cities of Arecibo and San Juan. The modern 10-string cuatro is still called the cuatro español by some old-timers who still recall the Spanish antecedents.
Why are modern cuatro strings placed in pairs and when did it change over from single strings?
It is a prevalent myth in Puerto Rico that the older four-string cuatro evolved to ten strings. It was said that the great Yauco cuatrista Heriberto Torres first doubled the strings on his cuatro during the 1920s to achieve “greater sonority.” Actually, both single and double-string cuatros co-existed on the island as far back as the nineteenth century. But the single-strung cuatros vanished because they didn’t change. There is evidence that shows, as the myth goes, double strung cuatros were being played in Heriberto’s southern town of Yauco during the 1920s but, in fact, double-string cuatros were being played concurrently on the northern coast prior to the 20th century. Indeed, the pairing of the strings is an ancient configuration prevalent in Spain and other European countries during colonial times and many doublestrung instruments must have landed in Puerto Rico since then. However, it is unlikely that many jíbaros saw them until late in the 19th century due to their relative isolation, the scarcity of passable roads in the countryside and the difficulty of travel to larger cities.
How was the cuatro used by jíbaros in the past?
The cuatro and other Puerto Rican stringed instruments played a significant role in the jíbaro’s daily life and social behavior. From the earliest day of the colony, the cuatro and the diminutive tiples were
used to accompany the observance of both festive and solemn religious rites, of which there were many.
Among the many religious rites that relied on the native stringed instruments were the rosaries cantaos (sung rosaries), velorios (wakes), promesas (vows), visitas de la virgin (special prayers to the Virgin Mary), florones and aguirnaldos (musical “gifts” sung during the holiday season), and more. The various families of Puerto Rican stringed instruments and musical genres were also used to accompany the island’s many secular festivals. For example, it was customary for Puerto Ricans to end the harvest season with a great festival called the acabe or “ending.” The numerous Puerto Rican dance styles – like the cadenas and the cabayo – were also done in the accompaniment with cuatros, tiples and with guiros (the traditional Puerto Rican scratch-gourd percussion instrument). The centerpiece of secular jíbaro music was the seis, which originated from cheery church dances of medieval Spain. Jíbaros took the seis and combined it with another ancient Spanish tradition, the ten-line poetic form called the décima. With these two elements, the jíbaro created the wonderful music of seis con décima This archetypal form features a single troubadour who, on the spot, invents clever lyrics that conformed to the complex rhyming rules of the ancient décima. The troubadour was always accompanied by a cuatro and a güiro.
How is cuatro strung and tuned?
The modern ten-string cuatro is tuned in string fourth, with five courses (in this case pairs) of strings. From lowest pitch to highest pitch, these are: B E A D G. For the first fifty years of the 20th century, virtually the only wire strings that were available in Puerto Rico’s small towns were from U.S. (sets of strings sized for American steel-string guitars). During this period, cuatristas had to select those individual strings that were appropriate in gauge (or thickness) for their cuatros Jíbaros tend to refer to these as cuerdas campana or “bell strings,” undoubtedly because of the large bell logo on the wrappers. Strings with a large bell on the wrapper could be obtained in virtually
Cuatro History and Facts
every small and large town on the island, in one or more general stores near the town plaza.
During research, the Puerto Rican Cuatro Project obtained an old wrapper and found that these “bell” brand strings were made in Chicago. They appear to be the only ones imported to the island for decades. Thus, when a cuatrista is asked what gauge strings are put on the cuatro he will usually say: Dos primas (two firsts – that is, two guitar first strings – which comprise the G or first course of the cuatro), dos segundas (two seconds – two guitar second strings for the D or second course for the cuatro), and dos terceras o una tercera y una prima (two guitar third strings or one guitar third and one first for the A or third course of the cuatro). In other words, there are two ways of tuning and stringing the third course: 1) the “old way” (in which the pair consists of a wound guitar third and a plain guitar first, both tuned to A but an octave apart) or 2) the “new way” (with two guitar third strings tuned in unison). Cuatros strung and tuned in each way sound noticeable different.
Historia y Hechos Del Cuatro
Las siguientes son preguntas y respuestas que más frecuentes se hacen sobre el origen, historia y la información técnica del cuatro puertorriqueño. Escrito por William Cumpiano. Derecho de propiedad literaria: El Proyecto del Cuatro Puertorriqueño.
¿Por qué se llama cuatro si tiene diez cuerdas?
Por supuesto, el instrumento se nombró desde sus inicios como instrumento los cuatro cuerdas sencilla de tripa. Pero la nomenclatura original del cuatro es un problema más complejo de lo que parece. Los Moros antiguos (quienes dominaron a casi toda España por casi 800 años hasta el 1492) utilizaban una palabra al-qatr, que significaba, “instrumento de cuerdas.”
También sabemos que existió un instrumento de cuatro cuerdas en Persia Antigua llamado kar-tar. Aunque la palabra cuatro puede no originarse de la palabra en español que denomina al número cuatro, si pudo haberse derivado de una palabra más antigua.
¿De dónde vino el cuatro?
Desde luego, los antecedentes de todos los instrumentos nativos de cuerda de la America Latina hispana pueden trazarse a la España del siglo 16 y 17, la cual, de acuerdo con Cervantes, abundaba de instrumentos tañidos de cuerdas de todos los tamaños y configuraciones. También sabemos que muchos de los mismos llegaron a América en grandes cantidades. Esto fue debido a que los reyes católicos de España encomendaron solemnemente a los colonos a que llevasen instrumentos de cuerda al “Nuevo Mundo” para observar y dispersar la fe mediante la música. Sabemos también que muchos marineros llevaron pequeños instrumentos de cuerda consigo mediante las largas travesías marítimas como pasatiemp Dirigiéndonos a épocas aún más antiguas, sin embargo los instrumentos de cuerda de España fueron derivados de los instrumentos de cuerdas Moros y Persas de gran antiguedad. Nuestras investigaciones señalan que existieron por lo menos dos instrumentos españoles en específico que pudieron haber inspirado a los antiguos jíbaros en la construción de sus propios cuatros: Las pequeñas bandurias españolas de cuatro cuerdas del siglo 17. Estas tenian la misma afinacion
que los cuatros antiguos que se hicieron en los pueblitos de la cordillera central de la isla. Estos cuatro de cuatro cuerdas perduraron en la isla hasta mediados del siglo 20. Las bandurrias españolas de diez cuerdas del siglo 18. La encorbadura de las bandurrias en España habían aumentado a diez cuerdas (cinco pares u ordenes) durante el transcurso de un siglo. Debido a que estos eran encorbados y afinados idénticamente a los cuatros de Puerto Rico durante los siglos 19 y 20, pensamos que deben haber sido los modelos originales para que estos cuatro surgieran en la costa norte de la isla, particularmente en los pueblos de Arecibo y San Juan. Dicho sea de paso los cuatros modernos de diez cuerdas son llamados “cuatro español” por algunos ancianos que recuerdan su antecedencia ibérica.
¿Por qué emparejan las cuerdas del cuatro y cuándo pasó a ser instrumento de cuatro cuerdas sencillas?
Es un mito prevaleciente en Puerto Rico que el cuatro antiguo de cuatro cuerdas evolucionó progresivamente hasta alcanzar diez cuerdas. El mismo mito menciona la persona responsable y la época del cambio: el mito popular dice que fue el gran cuatrista de Yauco, Heriberto Torres, quien por primera vez en la década de los 1920 emparejó las cuerdas de su cuatro para así lograr más sonoridad. Pero como hemos mencionado, el uno no se derivó del otro, porque el cuatro de cuerdas sencillas tanto como el de las cuerdas dobles co-existieron en Puerto Rico desde (por lo menos) los fines del siglo 19; de esto hay prueba certera. Tenemos evidencia que se tocaban cuatro de cuatro cuerdas dobles en el pueblo sureño Yaucano de Heriberto durante la época de los 1920, pero de hecho cuatros de cinco cuerdas dobles se veían tocándose concurrentemente en pueblos de la costa norteña desde el siglo anterior. El emparejamiento de cuerdas es una configuración indudablemente antigua que prevalecio en España y en otros países europeos durante los tiempos coloniales. Muchos instrumentos de cuerdas dobles tocaron tierra en Puerto Rico desde tiempos immemorables. Pero también fue probable que pocos jíbaros vieron instrumentos configurados así hasta los fines del siglo 19, debido a su aislamiento y a la escazes de carreteras adecuadas en la Isla.
Historia y Hechos Del Cuatro
¿Cómo se solía utilizar el cuatro?
El cuatro y otros instrumentos de cuerdas puertorriqueñas jugaron un papel significante tanto en la vida cotidiana de los jíbaros como en su comportamiento social. Desde muy temprano, el cuatro y los diminutos tiples fueron usados para acompañar las costumbres de ambas festividades y los ritos religiosos solemnes, que eran muchos. Entre los tantos ritos religiosos con que contaban los instrumentos de cuerdas nativos estaban los rosarios cantaos, velorios, promesas, visitas de la Virgen, y florones aguirnaldos.
Las varias familias de cuerdas de instrumentos puertorriqueños e instrumentos musicales fueron usados a menudo para acompañar los muchos festivales seculares de la Isla. Por ejemplo, los puertorriqueños estaban acostumbrados a terminar la época de la cosecha con un gran festival llamado el acabe. Las numerosas formas de bailes sociales como las cadenas y de cabayo también fueron acompañadas con cuatros, tiples, güiros e instrumentos tradicionales de percusión puertorriqueños. La pieza central de la música jíbara fue el seis, el cual se originó en los bailes jubilosos de las iglesias medievales en España. Los jíbaros tomaron el seis y lo combinaron con otra tradición antigua Española, la de las diez líneas más conocidas como la décima. Con estos dos elementos el jíbaro creó la maravillosa música del sies con décima. Este prototipo caracterizó al trovador o troubadour quien podía improvisar letras ingeniosas que conformaban las reglas del complejo de rimas de antigua décima. El trovador estaba siempre acompañado de un cuatro y un güiro.
¿Cómo se afina y se toca el cuatro?
El cuatro de cuerdas modernas se afina en cuartas exactas con cinco cursos (en este caso parejas) de cuerdas. desde los más bajos hasta los más altos tonos, estos son: B E A D G. CALIBRES: Por los primeros veinte años del siglo veinte, virtualmente las únicas cuerdas de alambre que estuvieron disponisbles en los pequeños pueblos de Puerto Rico fueron un par de cuerdas hechas en los Estados Unidos para uso de
las guitaras de acero americanas. Durante este largo período los cuatristas tuvieron que seleccionar estas cuerdas individuales que fueron apropiadas en calibres (o menos delgadas) para sus cuatros. Los antiguous cuatristas a los que le hemos preguntado, se refieren a esas cuerdas como campanas o “campanas de cuerdas”, indudablemente por el largo de la envoltura de la campana. Cuerdas con una campana larga en la envoltura podía ser virtualmente adquirida en todos los pueblos de la Isla, en una o más tiendas cerca de la plaza del pueblo.
Nosotros, obtuvimos una envoltura vieja y encontramos que verdaderamente era una campana de cuerdas de marca hecha en Chicago. Parecía ser la única importada en la isla por décadas. Así que cuando a un cuatrista se le pregunta de que medidas son las cuerdas que usa el cuatro usualmente dice: Dos primas [dos primeras – que son dos guitarras de primeras cuerdas quien componen la G o primer curso del cuatro.] Dos segundas [dos segundas – dos guitarras de cuerdas segundas para el D o segundo curso del cuatro.] Dos terceras o una tercera y una prima [dos guitarras de cuerdas segunda o una guitarra tercera y una primera para el A o tercer curso en el cuatro.] En otras palabras, hay dos maneras de afinar el tercer curso: Lo que ha sido descrito como el ”camino viejo” lo cual consiste en un par de guitarra plana primera, ambas afinadas para A pero con octava parte – o la “nueva manera” con dos guitarras de terceras cuerdas afinadas en armonía. Los cordones de cuatro afinados de cada manera suenan notablemente diferente. Una cuarta y una segunda [una guitarra cuarta cuerda y una guitarra segunda cuerda por el cuarto curso del cuatro.] Una quinta y una tercera [en la guitarra la quinta cuerda y una guitarra tercera cuerda era el quinto curso del cuatro.]
CARLOS HERNÁNDEZ FALCÓN
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EXECUTIVE DIRECTOR OF PRAA
We extend our congratulations to the Puerto Rican Arts Alliance on the celebration of their 26th Annual National Cuatro Festival Puertorriqueño. This year’s festival is dedicated to the legacy of their founder and former Executive Director, Carlos Hernández Falcón, whose devotion and leadership have greatly contributed to the preservation and promotion of Puerto Rican culture. His service and commitment continue to inspire future generations of artists and cultural leaders.
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La Universidad Interamericana de Puerto Rico felicita al Puerto Rican Arts Alliance en su 26 aniversario
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David Munoz
Dr. Julia María Nazario
Luz Nellie
Nazario Fuentes
Isobel Neal
Ydalmi Noriega
Brian Nunez
Yulissa Nunez
Beatriz Ochoa
David Olivencia
Irma Olmedo
Andres Oroz
Maria Osorio
Diana Palomar
Robert Pantoja
Heather Patay
Theresa Paucar
Eva Penar
Margarita Perez
Maria Pesqueira
Toan Phan
Mike Pietrzak
Angelique Power
Noemy Quinones
Rocky Quinones
Pilar Quiroz
Nick Rabkin
Nelly Ramirez
Nelson Ramirez
Angela Ramos
Fulgencio Ramos
Teresa Ramos
Herb Reece
Alejandro Regalado
Claire Rice
Myrna Richardson
Judith Rios
Patricia Rivero
Christian Rodriguez
David Rodriguez
Hector Rodriguez
Ivelisse Rodriguez
Maritza Rodriguez
Milton Rodriguez
Rosaura Rodriguez
Emma Rodriguez-Ayala
Lourdes Rosado
Special Acknowledgements
Ed Ruiz
Andrea Saenz
Doris Salomon
Carmen & Angelo Sanchez
Manuel Sanchez
Julia Santana
George Santiago
Leida Santiago
Milly Santiago
Samuel & Brunny Santiago
Sofia Sarabia
Roche Schulfer
Barry Schwartz
Linda Scott
Rebekah Sierra
Eva Silverman
Sumie Song
Lucina Sosa
Cristina Suarez Santiago
Isabel Tellez
Anamary Torres
Iraida Torres
Carlos Tortolero
Tien Truong
Maricarmen Vaquera
Araceliz Vazquez
Martha Vazquez
Carmen Vega
Devynn Vega
Arthur Velasquez
Felix Velazquez
Luna Velez
Cristina Vera
Gabriel Villa
Mimi Villacres
Angi & Gustavo Villafana
Noemi Villasenor
Gilbert Villegas
Raynell Walls
Antonia Wesselink
Mylowe Wooley
In Honor of
Carlos Hernandez By Heather Patay By Cheryl Cooke
Rita Knox By Diana Palomar
Complément Consulting Group By Heather Patay
Judith M. Sauri
Advanced Strategies for Professional Development
Luis Diaz Laboy By Luz Diaz
In Memory of
Ismael López Lopez By Purple Group
Natalia Acevedo Cortes By Noemi Cortes
Davy Rodriguez By David Rodriguez
Joseph Dominguez By Len Dominguez
Juan Mendez By Gladys Mendez
Amelia Rodriguez By Ellen Flores
“Count On Me” Donors Donors of $500+
Carlos Azcoitia
Cheryl Cooke
Gladys Mendez
Lidia Mercado de Hernandez
Patty Greene & Felix Velazquez
Special Acknowledgements
“Super Star” Volunteers
Elizabeth Alvelo
Igor Araujo
Warren Araujo
Carlos Ayala
Margie Bonano
Lissete Cabrera
Domingo Casanova
Ramzie Casiano
Celestina Chaverria
Coty Cervantes
Vilma Colom
Zelma J. Correa-Frohlich
Madeline Cruz
Marilyn Cruz
Iris Diaz
Michelle Montijo
Katty Enriquez Mayo
Iris Mateo
Mercedes Feliz-Matos
Benjamin Flores
Evelyn Fred
Alberto & Jennifer Fret
Maggie Garcia
Edith Gomez
Miguel Gomez
Betzaida Gonzalez
Cynthia Gonzalez
Carlos Gonzalez
Teo Gonzalez
Patty Greene
Angelica Guerrero
Aurora Hidalgo
Jennifer Ines Roman
Norma Infante
Orlando Lopez
Rita Lugo
Marilyn Martinez
Luis Medina
Doris Medrano
Carmen Maldonado
Nancy Menjivar
Patty Montenegro
Willy Montes de Oca
Elba Morales
Carmen Narvaez
Evelyn Nazario
Raul Nepomuceno
Elisa Nieves
Anna Ortiz
Emma Ortiz
Enelise Ortiz
Luisa Quiñones
Javier Ramos
Teresa Reyes
Xavier Rios
Jaime D. Rivera
Peggy Rivera
Margarita Rodriguez
Reni Rodriguez
Luisa Roldán
Betty Roman
Angelo & Carmen Sanchez
Iris Sanchez Santiago
Catalina Soto Jones
Isabel Tellez
Evelyn Torres Fernandez
Mon Hei Tong
Elizabeth Torres
Luz A. Torres
Carinna Solano
Richard Velazquez
Letty Velez
Gustavo & Angi Villafana
Noemi Villaseñor
Kat Wisniewski
Special Thanks to Eric Wagner, True Story Inc. and Cristina Vera, Vera Creative, Inc. for their graphic design services.
Special Acknowledgements
How You Can Help!
Donors provide the means for us to carry out our mission of preserving Puerto Rican culture by maintaining traditions, showcasing art and music, providing arts and music educational programs and cultivating pride in heritage. Here are some ways you can help.
BECOME A FUNDRAISER: Set your own goal and become a fundraiser for PRAA. Visit our website at https://www.praachicago.org/donate to start your campaign TODAY!
MAKE A DONATION: We welcome contributions of any size. Donations are accepted via cash, check, credit card and Zelle via info@praachicago.org.
BECOME A “CUENTA CONMIGO” SPONSOR: Help to ensure that children, families and youth are able to attend the National Cuatro Festival each year. Invest in PRAA’s educational music and arts programs.
PLEDGE: You may make a pledge of any amount and pay on a schedule you choose.
BEQUEST: Name PRAA as a recipient in your estate planning.
INSURANCE: Name PRAA as the beneficiary of a life insurance policy.
MEMORIAL / HONOR: Remember someone or honor someone. Celebrate a birthday, graduation, anniversary, or wedding with contributions made to PRAA in lieu of gifts.
MATCHING GIFT: If your employer (or your significant other’s employer) has a matching gift policy as one of its’ benefits, your gift could double or triple in value.
IN-KIND GIFTS OR SERVICES: Volunteer on one of our committees or to help with an event, donate items that can be used in our music and art programs, or donate items that can b e used as raffle prizes or give-a-ways at events.
ATTEND AN EVENT: Register for programs or attend performances, exhibitions, or special events.
DONATE AIRFARE: PRAA regularly brings musicians and artists to Chicago. Donate miles or tickets.
Contact Nancy Ward, Development Director at 773-342-8865 x 2 or nancy@praachicago.org for PRAA’s gift acceptance policy, more information about donations, becoming a fundraiser, or volunteer opportunities.
Thank You
THANK YOU Cuenta Conmigo Program “Count On Me” Sponsors
ASPIRA, Inc. of Illinois
Cabrera Capital Markets
Central Park Bar
Carmen Hernandez
Hector Fabregas, Jr. State Farm Insurance Agent
Heriberto Ruiz – R4 Commercial Real Estate Solutions
Michael Pietrzak, ASPD
Milton Rodriguez and Associates
Ramon Garcia, MD, Garcia Medical Centers
THANK YOU TO OUR SCHOOL PARTNERS!
After School Matters
ASPIRA Business & Finance High School
Catalyst Circle Rock Elementary School
Charles R. Darwin Elementary School
Harriet Beecher Stowe Elementary School
Kelvyn Park High School
Mary Lyon Elementary School
Ogden International High School
Wolfgang A. Mozart Elementary School
2025! (announced spring 2025)
Chicago’s Puerto Rican Ad Agency
Celebrates the 26th Annual National Cuatro Festival.
Vera Creative is proud to serve as the official design partner for the National Cuatro Festival.
We are a Latina-owned and award-winning ad agency driving social impact.
Full-service Marketing
Outreach & Activations
Public Relations & Media Relations
We partner with purpose-led brands and organizations to amplify your mission and message. veracreative.com
→ Let’s collab.
Southwest Airlines® is dedicated to your Community.
Our mission is to make the connections that empower communities to thrive. Through our meaningful relationships, we proudly support your efforts in the many communities we call home. Whether in the air or the ground, we believe community is more than a place – it’s at the Heart of what brings us together.
Southwest Airlines® is proud to support the Puerto Rican Arts Alliance.
