Carnaval 2024: Añoranza by washucarnaval

The Association of Latin American Students presents...

CARNAVAL 2024 AÑORANZA

WHAT IS... AÑORANZA? WHAT IS... AÑORANZA?

The word “Añoranza” is a spanish term that translates to “nostalgia” or “longing” in English. It refers to a sentimental or wistful yearning for something in the past, often associated with fond memories or experiences. It conveys a sense of missing or desiring something or someone that is no longer present.

WELCOME TO CARNAVAL! WELCOME TO CARNAVAL!

A Little About Us!

Carnaval is the annual Latine cultural showcase at WashU. Through a variety of performances, our student cast and crew work to celebrate Latine culture on stage. Sponsored by the Association of Latin American Students, Carnaval represents a broad diaspora of Latine and Caribbean communities and, while we wish we could show you everything our culture has to offer, we hope that this selection does justice to the beauty and diversity that we come from. Whether you are here to celebrate your culture with us or to learn something new, we hope that you enjoy Carnaval 2024: Añoranza.

It’s Our 25th Anniversary

Thank you for attending Carnaval 2024: Añoranza. To honor our 25th anniversary, we’ve sought to make this year’s showcase unforgettable. Our student-run production is hosted by the Association of Latin American Students to celebrate our Latine and Caribbean community and its diversity.

Acknowledgements

A warm thank you to Emily Kennebeck, Jacob Goedde, Jamie Perkins, Tab Birt, Angel Recci, the 2023-2024 ALAS Executive Board, WashU Student Union, Edison Theater’s staff, our student tech crew, and our volunteer ushers for making this show possible.

We would also like to thank the Caribbean American Student Association and the friends and families that supported each of our performers along the way.

Our Carnaval Committee:

Bryanna Mendez: Co-Director

Melissa Villegas-Marin: Co-Director

Carlos Mendoza: Skit Co-Director

Veronica Lee: Skit Co-Director

Emily Feldstein: Assistant Director

Yoana Zamora Miranda: Philanthropy Chair

Lalo De Armas: PR Chair & Videographer

Juliana Gaztambide: Graphic Design Artist

Carlos Ramirez: Co-Choreo Liaison

Emily Martinez: Co-Choreo Liaison

To our Carnaval Committee, your enthusiasm and dedication has been essential to this year’s success. From chilly hours of underpass painting to our bonding moments at Lona’s Lil Eats, the energy this team has built has been the fuel to light up this show and continue to showcase our Latine community. We appreciate every single one of you and the ideas you’ve brought to make our 25th anniversary a memorable moment. Thank you.

Show Order! Show Order!

Opening Speech

Scene 1

MERENGUE

Scene 2

FOLKLORICO

Scene 3

FLAG WALK

Scene 4

SENIOR DANCE

Scene 5

CHICANE BAND

Philanthrophy

CUBAN JAM SESH

Scene 6

CASA RED CARPET

Scene 7

SALSA

Scene 8

MARIACHI Scene 9

BOMBA

Closing Speech

INTERMISSION

SKIT

SKIT “1000 Kilometers”

“1000 Kilometers”

As is WashU Carnaval tradition, skit is the foundation of the “Añoranza” show and theme. This year, our play centers a contentious theme familiar to many members of the Latin American community/ diaspora: reckoning with cultural and individual identity. We revisit a memory of our main character, Amparo (Ampi), as she flashes back to a night when she grappled with a life-changing decision amid the rare and precious setting that is a family party, where relatives living all over the country are coming together to celebrate her mother’s 50th birthday. Through moments of loving joy and clashing frustration, we get a glimpse into how each individual’s own dreams and experiences can move together and apart to shape the fabric of a family that we carry with us everywhere. The directors and cast hope that Ampi’s story will bring forth reflection and compassion in our community— for each other, for our families, and for ourselves— and maybe help us talk about feelings we tend to keep hidden in a neat little corner of our hearts.

Note: It is not specified at any point in the play the exact country where Ampi’s family originates from— don’t worry, you didn’t miss it. The directors made this decision to emphasize the pervasiveness of the experience that the characters face as Latin American immigrants in the United States.

SKIT “1000 Kilometers” SKIT “1000 Kilometers”

Co-Writers and Directors:

Veronica Foureaux Lee and Carlos Mendoza

Actors:

Jeme Chavez as AMPI

Yuliana Hernandez as FLORENSIA

Luis Tinajero-Areola as DANI

Alejandro Santana as SERGIO

Andrew Breton as TIO

Emily Flores as THALIA

Kaín Sosa as DAVID

Sofia Angulo-Lopera as ABUELA

Rosalinda Nunez-Enriquez as TIA

Yael Rojo as AARON

Isaac Lendechy Olivares as CLERK

MERENGUE MERENGUE

Merengue originated in the Dominican Republic and Haiti, with strong influences from Venezuela and AfroCuban traditions. Initially a folk dance dating back to the early 1800s, merengue stands out as one of the most liberated forms of dance in Latin America. The name is said to derive from a confection made of sugar and egg whites, reflecting the dance’s lively and airy nature. Today, merengue productions blend various music genres, which we feature in our routines. Our choreography encompasses traditional partner work, solo hip-hop and reggaeton elements, and classic circle formations. Ultimately, our aim is to inspire individuals to express their creative freedom through the art of dance.

Choreographers:

Emily Flores

Vlad Alarcon

Performers:

Emily Flores

Vlad Alarcon

Loren Lacruz

Kain Sosa

Alejandro Santana

Giselle Alcoser

Sofi Camargo

Ali Mora

Songs: Mujeriego

- Ryan Castro

La Dueña del Swing

- Los Hermanos Rosario Con El Pompi Pa’rriba

- Mala fe

Se Encendio el Beeper

- Oro Solido

FOLKLORICO FOLKLORICO

Baile folklorico, directly translating to folkloric dance, describes a variety of traditional Mexican performance dances. Established around the 1950s in Mexico, folklorico developed as a result of mestizaje; the combination of Indigenous, African, and European cultures. Each state of Mexico has their own dance style with unique music, zapateado (footwork), and vestuarios (costumes).

This year, we are proud to represent both Guerrero and Veracruz! Characterized by Huipils (dresses), pañuelos (bandanas), and intricate 6/8 rhythms, Guerrero honors the indigenous Amuzgo people of the western coast of Mexico. On the opposite coast, the lacey white dresses, abanicos (fans), and bright string instruments distinguish the region of Veracruz. These two coastal states showcase elaborate zapateado (footwork) that compliment the music as live percussion. As we perform, we ask you to look and listen carefully for the zapateado, and welcome you to join us in our gritos and other cheers!

¡Que viva Mexico!

Choreographers:

Q Negrete

Danae Gaytán San Elias

Performers:

Valencia Alvarez

Alejandro Ballesteros

Bianca Calvillo

Jaquelin Cardenas-Lopez

Miranda Gamino-Ornelas

Danae Gaytán San Elias

Kayla Guzman

Kevin Lopez

Ja’lynn Maldonado

Q Negrete

Yair Rojo

Beecher Sanderson

Songs:

El Colas - Los Nacionales de Jacinto Gatica

La Chilena - Jose Manuel Figueroa

FLAG WALK FLAG WALK

Flag Walk was born out of a desire to demonstrate the diversity and unity of countries in Latin America and the Caribbean. National pride is an enduring facet of life in both regions as relics from independence movements in the 19th and 20th centuries. Performers will showcase their pride by displaying their nations’ flags, wearing traditional clothing, and celebrating to music from their country. While not all of our performers have heritage from the country that they are repping, we strive to represent the grand majority of the countries that comprise Carnaval.

Choreographers:

Emily Feldstein

Bryanna Mendez

Yoana Zamora Miranda

Performers:

Jaquelín Cárdenas

Israel Chavez

Soraya Mejia Rosales

Carlos Ramirez

Sebastián Monge Reyes

Julianna Maria Torres

John Rivera

Gabriela Madriz

Emily Segura

Ian Gomez

Paul Rauschkolb

Camila Maneiro

Carlos Mendoza

Sofia Angulo Lopera

Maria Contreras

Vivian Robles-Pinos

Esther Perez

Allie Hoy

Ambar De Santos

Vlad Alarcon

Mariana Quiroz

Emily Feldstein

Yoana Zamora Miranda

Rodrigo Suárez López Gallo

Natalia León Díaz

Joharis Figueroa

Melina Marin

Añia Jacob

Alexandre Neptune

Christi Changoor

Alana Taylor

Ariel Elliott

Jesiree Fernandez

Andrew Breton

Christi Changoor

Alana Taylor

Ariel Elliott

Jesiree Fernandez

Andrew Breton

SENIOR DANCE SENIOR DANCE

Senior dance is an opportunity for seniors across acts to give their farewell to Carnaval. This year’s senior dance takes the audience on a journey through the history of reggaeton, starting from the 1990’s. Seniors will bring figures throughout reggaeton to life onstage. All the songs are popular hits from the past up to the present, and we hope you dance along with us!

Choreographers:

Sofia Angulo-Lopera Loren Lacruz

Performers:

Carlos Mendoza as Daddy Yankee

Kain Sosa as Rauw Alejandro

Emily Flores as Kali Uchis

Bryanna Mendez as Young Miko

Yael Rojo as Bad Bunny

Isa Huesa as Shakira

Camila Maneiro as Natti Natasha

Yuliana Hernandez as Becky G

Ali Mora as Tokischa

Sofia Angulo-Lopera as Karol G

Songs: “Muchos Quieren

Tumbarme” - Ivy Queen

“Yo Voy” - Zion y Lennox

“Candy” - Plan B

“La Romana” - El Alfa

“Una Noche en Medellin” - Karol G

“Mercedes Carota”Bad Bunny

CHICANE BAND CHICANE BAND

Chicano music, a vibrant and influential genre, has roots that trace back to the early 20th century. Emerging from the Mexican-American community in the United States, Chicano bands have blended elements of traditional Mexican music with various genres like rock, jazz, and blues, creating a distinctive sound that resonates with audiences worldwide. The history of Chicano bands is deeply intertwined with the struggles and triumphs of the Chicano civil rights movement. Artists like Ritchie Valens, Santana, and Los Lobos rose to prominence, infusing their music with themes of cultural identity, social justice, and resilience. Throughout the decades, Chicano bands have evolved, adapting to changing musical landscapes while staying true to their cultural heritage. From the soulful melodies of Tierra to the politically charged lyrics of Rage Against the Machine, Chicano bands have continued to push boundaries and challenge stereotypes, carving out a unique space in the music industry. Today, Chicano bands continue to thrive, with artists like Chicano Batman, Ozomatli, and Thee Sacred Souls carrying on the legacy of their predecessors while exploring new sonic territories. With their dynamic blend of rhythms and rich storytelling, Chicano bands remain a powerful force, celebrating diversity and inspiring generations to come.

Lead Director: Aldo Estrada

Singers:

Rosie Spratt

Wendy Chavez

Melissa Villegas-Marin

Instrumentalists:

Aldo Estrada

- Electric Bass Guitar

Sebastian Alamo Selis

- Piano

Aadit Ramesh

- Drums

Moises Akermam

- Guitar

PHILANTHROPY MISSION: ST LOUIS PHILANTHROPY MISSION: ST LOUIS

Mission: St. Louis accompanies individuals in their path to selfsufficiency. By removing barriers to employment and education, we are fostering social and economic mobility for all people.

Through their initiative, HomeFirst, they transition people out of homelessness by providing safe, affordable apartments, helping establish and maintain employment, and giving access to wellness specialists. Empowering individuals will break cycles of poverty and instill the core sense of dignity that all of us share in them.

This year, Carnaval is proud to partner with Mission: St. Louis. In order to financially support this organization in its mission, we will be donating all proceeds from fundraising sales during intermission and ad sales in the program.

For more information on Mission: St. Louis, please visit https://www. missionstl.org/. For more details about HomeFirst, please visit https://www. missionstl.org/homefirst.

Donation Link: https://www.missionstl. org/donate

CUBAN JAM SESH CUBAN JAM SESH

For the Cuban Jam Session act, we attempt to recreate the sound and feel of the Cuban descarga (“jam session”) genre, popularized in the 1950s and 60s. We chose to cover the song “Tito on Timbales” from Tito Puente’s 1978 album “Puente in Percussion.” The original song features a simple, repeating bass melody, which the percussionists jam upon and trade solos. Although the original track just featured a bass, timbales, congas, and bongos, we have decided to add a cowbell, jam block (clave), and güiro for a layered, dynamic sound. We hope you will enjoy our rendition of “Tito on Timbales.” We also hope our performance will inspire you to listen to more Cuban music from the era, such as the aforementioned descargas, mambo, rumba, and chá chá chá. ¡Habla!

Performers:

Leandro de Armas

– Cowbell

Hugo Córdova

– Congas (barril)

Aldo Estrada

– Electric Bass Guitar

Natalia León Díaz – Güiro

Alexandre Neptune – Jam Block (clave)

Aadit Ramesh – Bongos (played with sticks)

CASA RED CARPET CASA RED CARPET

Our segment is a fashion showcase celebrating the vibrant Carnival costumes of Caribbean culture. This year, we draw inspiration from Jouvert morning festivities, a cherished tradition across many Caribbean nations where revelers adorned in paint, powder, and mud dance to the sweet rhythms of music. Throughout the semester, our talented students have dedicated themselves to designing costumes from scratch that reflect their diverse backgrounds across the Caribbean. As they grace the red carpet to songs that resonate with their heritage– from dembow and konpa to soca and beyond and – each costume tells a story of tradition, resilience, and pride. Join us as we celebrate the artistry, diversity, and unity of the Caribbean through the Carnival fashion that brings us together!

Choreographers: Zoe Mercado

Jessie Hillman

MCs:

Nyla Welch

Andrew Breton

Performers:

Ayana Loyd

Deborah Theophile

Dajana Pierre

Anthony Vidal, - Hijo de Yamaha

Alana Taylor

Marcelle Santana

Rovira

- El Vejigante

Rodery Gonzalez

Paris Robinson

SALSA SALSA

Originating in Cuba during the 20th century, salsa is a Latin American dance shaped by different cultural tendencies from Spain, Africa, and the Caribbean. Before contemporary music, the beats of salsa were created using various instruments such as the clave, güiro, marimbula, congos, timbales, and cowbell. Today, traditional salsa songs such as Vivir mi Vida, Periódico de Ayer, and He Tratado by artists including Marc Anthony, Héctor Lavoe, and Víctor Manuelle incorporate these instruments and beats. Salsa dancing typically falls into one of two categories: social dancing or choreography. Social dancing is an improvisational form of salsa that usually occurs at clubs, reunions, parties, and more. Choreographed routines consist of movements set to music that are performed by salseros at competitions or showcases. With our choreography, we wanted to capture various essences of salsa, and to do so, we chose a traditional song for our first song, and more upbeat songs for our last two. Furthermore, we wanted to showcase a wide array of salsa dance styles throughout our piece by adding traditional, Central American, and reggaeton movements to our dance.

Choreographers:

Sebastián Monge Reyes

Irene Yuan

Performers:

Sebastián Monge Reyes

Kaylei Knight

Emily Feldstein

Jesiree Fernandez

Yoana Zamora Miranda

Isabella Caceres Ruscitti

Julián Villamil Rojas

Paul Rauschkolb

Maria Contreras

Carolina Dávila

Vlad Alarcon

John Rivera

Songs: Como lo Hacen - Frankie Ruíz

Es un Pecado - LKM

Que se Preparen - Los 4

MARIACHI MARIACHI

Mariachi is a genre of regional Mexican music that originated in Western-Central Mexico in the 19th century. Mariachi bands include violins, trumpets, the guitar, the vihuela (small, gut-strung guitar with a soft, sweet sound), and the guitarrón (large bass guitar), sometimes including the harp. The different styles include boleros, huapangos, sones, rancheras, and valses. Musicians sing choruses in unison and take turns in the lead vocal role. Some well-known mariachi artists include: Vicente Fernandez, Juan Gabriel, José Alfredo Jiménez, Lola Beltrán, and Lucha Villa.

This year, we are excited to present a dynamic mariachi act. Our “modern mariachi” may not appear in the expected traditional mariachi attire, but we are sure that our heart, passion, and musicality will inspire you to listen with your ears, not your eyes. We invite you to pay close attention to the story that our repertoire tells. Our first song conveys the excitement of love that resonates the same way a cascabel would through continuous ringing. The next song takes a turn as the singer challenges the lover to explore the world and find a superior love. They promise to leave with the sun, as the evening dies into the night. Our last song leaves behind the unknown feelings and speaks of a pure love, made and destined only for them.

We hope our audience leaves with a greater understanding of the wide range of styles, tempos, and moods of music that mariachi music encompasses.

Directors:

Melissa Villegas-Marin

Gabriela Madriz

Musicians:

Melissa Villegas-Marin

- Violin

Gabriela Madriz

- Violin

Mariana Quiroz

- Violin

Jaqueline Marquez Salgado

- Violin

Elizabeth Murray

- Violin

Carlos Ramirez

- Trumpet

Kam Reo

- Guitar

Mario Chaires

- Guitar

Eder Carreon

- Guitarrón

Songs: El Cascabel

La Media Vuelta

Hermoso Cariño

BOMBA BOMBA

Bomba, Puerto Rico’s first musical genre, descends directly from West African ancestors’ musical tradition in interaction with indigenous Taíno and Spanish influences. It originated more than 400 years ago during Puerto Rico’s Spanish colonial period. Bomba is deeply emotional, as it represents the lament of slaves in sugar plantations, who would congregate and utilize bomba music as a way to unveil their souls and create a space of communion and support between each other in light of the suffering they were forced to endure. Today, bomba continues to serve as a way to express the collective experiences, hardships, and dreams of all Puerto Ricans who live with the harmful consequences of colonialism and imperialism. There are various performers in bomba, namely, the dancers and musicians. The word “bomba” has its roots in a West African term for a drum. Therefore, the primary instruments in bomba music are the barriles (“barrels”), the drums played by the subidor, who musically accompanies the dancer’s movements, and the buleador, which maintains a steady rhythm. The two other traditional bomba instruments are the maracas and the cuá. One must imagine bomba as a dialogue or conversation between the dancer and the subidor, as the drummer responds to the dancer’s improvised piquetes, which are sharp and elegant movements of their skirt and body. The rhythms interpreted in this performance are Sicá, Cuembé, and Holandés, all of which originate from the Santurce neighborhood of San Juan.