UMS Teacher Resource Guide - Baby Loves Salsa

BABY LOVES SALSA

TEACHER RESOURCE GUIDE 2010–2011

UMS 10-11

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SUPPORTERS

The Andrew W. Mellon Foundation University of Michigan Anonymous Arts at Michigan Arts Midwest’s Performing Arts Fund The Dan Cameron Family Foundation/Alan and Swanna Saltiel CFI Group Community Foundation for Southeast Michigan Doris Duke Charitable Foundation Endowment Fund DTE Energy Foundation The Esperance Family Foundation David and Jo-Anna Featherman Forest Health Services David and Phyllis Herzig Endowment Fund JazzNet Endowment W.K. Kellogg Foundation John S. and James L. Knight Foundation Masco Corporation Foundation Michigan Council for Arts and Cultural Affairs THE MOSAIC FOUNDATION [of R. & P. Heydon] National Dance Project of the New England Foundation for the Arts National Endowment for the Arts Prudence and Amnon Rosenthal K-12 Education Endowment Fund PNC Bank Target TCF Bank UMS Advisory Committee University of Michigan Credit Union University of Michigan Health System U-M Office of the Senior Vice Provost for Academic Affairs U-M Office of the Vice President for Research Wallace Endowment Fund

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This Teacher Resource Guide is a product of the UMS Youth Education Program. UMS thanks Matthew Mejia, Linda Grekin, Jose Conde, Pam Reister, the University of Michigan Museum of Art, and Omari Rush for their feedback and support in developing this guide.

BABY LOVEs SALSA Monday, January 31, 2011 • 10 AM - 11AM and 12 NOON - 1 PM • LYDIA MENDELSSOHN THEATRE

UMS Y outh E ducatio n P rogram

TEACHER RESOURCE GUIDE 2010–2011

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TA B L E O F C O N T E N T S

Short on time?

If you only have 15 minutes to review this guide, just read the sections in black in the Table of Contents.

Those pages will provide the most important information about this performance.

Attending the YOUTH PERFORMANCE 6 Coming to the Show 8 Map + Directions 9 Lydia Mendelssohn Theatre 10 Being an Audience Member ABOUT SALSA 12 What is Salsa?

15 Big Names in Salsa 16 Percussion in Focus

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BABY LOVES SALSA 20 Ensemble Story 22 Individual Bios 24 Repertoire 26 Visual + Performing Artists RESOURCES 29 National Standards 30 Curriculum Connections 32 Additional Resources

ABOUT UMS 46 What is UMS? 47 Youth Education Program 49 Contacting UMS

AT T E N D I N G T H E YOUTH PERFORMANCE

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www.babylovessals

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D E TA I L S

COMING TO THE SHOW We want you to enjoy your time with UMS! PLEASE review the important information below about attending the Youth Performance:

TICKETS TICKETS We do not use paper tickets for

DOOR ENTRY A UMS Youth Performance

DURING THE PERFORMANCE At the

Youth Performances. We hold school reserva-

staff person will greet your group at your bus

start of the performance, the lights well

tions at the door and seat groups upon arrival.

as you unload. You will enter through the

dim and an onstage UMS staff member will

main entrance (south) of the League Building.

welcome you to the performance and provide important logistical information. If you have any questions, concerns, or complaints (for instance, about your comfort or the behavior

ARRIVAL TIME Please arrive at Mendelssohn

USHER

of surrounding groups) please IMMEDIATELY report the situation to an usher or staff member in the lobby.

between 9:30-9:50am for the 10:00am Youth Performance and 11:30-11:50am to allow you

SEATING & USHERS When you arrive at

time to get seated and comfortable before the

the front doors, tell the Head Usher at the

show starts.

door the name of your school group and he/ she will have ushers escort you to your block of seats. All UMS Youth Performance ushers

PERFORMANCE LENGTH One hour

wear large, black laminated badges with their

(approximately) with no intermission

names in white letters.

DROP OFF Have buses, vans, or cars drop off students on westbound (north) side of North University Avenue in front of the Michigan League Building. If there is no space in the

AFTER THE PERFORMANCE When the

drop off zone, circle the block until space

performance ends, remain seated. A UMS

becomes available. Cars may park at curbside metered spots or in the visitor parking lot

BEFORE THE START Please allow the usher

staff member will come to the stage and

behind the power Center. Buses should wait/

to seat individuals in your group in the order

release each group individually based on the

park at Briarwood Mall.

that they arrive in the theater. Once everyone

location of your seats.

is seated you may then rearrange yourselves and escort students to the bathrooms before the performance starts. PLEASE spread the adults throughout the group of students.

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BUS PICK UP When your group is released,

SENDING FEEDBACK We LOVE feedback

ACCESSIBILITY There is a barrier free access

please exit the performance hall through the

from students, so after the performance please

located at the North University entrance to

same door you entered. A UMS Youth Perfor-

send us any letters, artwork, or academic

the building, with elevator access to the main

mance staff member will be outside to direct

papers that your students create in response

floor of the theater level. Wheelchair seating is

you to your bus.

to the performance: UMS Youth Education

available on the rear of the main floor.

Program, 881 N. University Ave., Ann Arbor,

AAPS

MI 48109-1011.

assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.

AAPS EDUCATORS You will likely not get on the bus you arrived on; a UMS staff mem-

ENTRANCES + ELEVATORS The Lydia

ber or AAPS Transportation Staf person will put you on the first available bus.

Lydia Mendelssohn Theatre is equipped with

NO FOOD No Food or drink is allowed in the theater.

Mendelssohn Theatre is located in the Michigan League Building on the University of Michigan’s central campus. The main entrance is off of North University, in front of the Michigan League Building. Elevators for access to the both the Main Floor and Balcony are located in the middle of the Michigan League

LOST STUDENTS A small army of volunteers staff Youth Performances and will be

PATIENCE Thank you in advance for your

ready to help or direct lost and wandering

patience; in 20 minutes we aim to get 620

students.

people from buses into seats and will work as

along the main hallway.

efficiently as possible to make that happen.

LOST ITEMS If someone in your group loses an item at the performance, contact the UMS Youth Education Program (umsyouth@umich. edu) to attempt to help recover the item.

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→ E Huron St

→

RACKHAM

POWER

E Washington St

Washtenaw Ave

HILL

Parking

Fletcher St

E Liberty St

MENDELSSOHN

Thayer St

State St

Enter

Palmer Dr

N University Ave

N

→

William St

Church St

Mall Parking & →

MAP + DIRECTIONS This map, with driving directions to the Mendelssohn Theatre, will be mailed to all attending educators three weeks before the performance.

MAP

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VENUE

LY D I A M E N D E L S S O H N T H E AT R E LOCATED WITHIN the Michigan League

League are similarly designed, tasteful

& Lloyd. In 1995, new carpeting and

building on the central campus of the

private dining rooms and a large ball-

seats were installed, and the proscenium

University of Michigan, the Lydia Men-

room. The Mendelssohn Theatre is also

curtain was replaced. Its lighting equip-

delssohn Theatre is an intimate, shoe-box

used extensively for theatrical produc-

ment is modern.

theatre seating 658. Decorated with solid

tions and solo recitals.

oak paneling that creates an atmosphere

The Mendelssohn Theatre is one of the

of elegance and charm, the Mendelssohn

Opening on May 4, 1929, the theatre

few theaters in the United States to have

Theatre is perfect for smaller conferences.

was designed by the Chicago architec-

a “cyclorama,” a curved wall at the back

Just down the hallway in the Michigan

tural firm of Allen Pond & Pond, Martin

of the stage. The cyclorama improves sound in the theater and can be used for creative lighting effects.

Notwithstanding an isolated effort to establish a chamber music series by faculty and students in 1938, UMS regularly began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage for the 100th May Festival’s Cabaret Ball.

Today, the Lydia Mendelssohn Theatre is used primarily for theatrical productions and song recitals.

LYDIA MENDELSSOHN THEATRE 911 North University Ave Ann Arbor, MI 48109 (734) 763-333 Emergency Contact Number: (734) 764-2538 (Call this number to reach a UMS staff person or audience member at the performance.)

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D E TA I L S

BEING AN AUDIENCE MEMBER When preparing students for a

members from hearing. Often in large

on stage or whether they will miss

live performing arts event, it is impor-

rock concerts or in movie theaters,

something because of the sound and

tant to address the concept of “concert

the sound is turned up so loud that

movement you are making. Given this

etiquette.” Aside from helping prevent

you can talk and not disturb anyone’s

consideration, it’s often best to wait

disruptive behavior, a discussion of concert

listening experience. However, in other

until a pause in the performance (a

etiquette can also help students fully enjoy

concerts and live theater experiences,

pause of sound, movement, or energy)

the unique and exciting live performance

the sound is unamplified or just quite,

or to wait until the performer(s) bow to

experience. The following considerations

and the smallest noise could cause

the audience to share your enthusiasm

are listed to promote an ideal environment

your seat neighbor to miss an impor-

with them.

for all audience members.

tant line of dialogue or musical phrase.

Your Surroundings • Concert halls and performing arts venues are some of the most grand and beautiful buildings you might ever visit, so be sure to look around while you follow an usher to your group’s seats or once you are in your seat.

Movements or lights (from cell phones) may also distract your audience neighbors attention away from the stage, again, causing them to miss important action...and there’s no instant replay in live performance!

• At a performance, you are sharing the physical components of the performance space with other audience

• UMS Ushers will be stationed through-

members. So, consider whether you

out the building and are identifiable

are sharing the arm rest and the leg

by their big black and white badges.

room in such a way that both you and

They are there to help you be as

your seat neighbors are comfortable.

comfortable as possible and if you have a question (about the perfor-

• As an audience member, you are

mance, about where to go, or about

also part of the performance. Any

what something is), please ask them,

enthusiasm you might have for the

and don’t feel shy, embarrassed, or

performance may make the perform-

hesitant in doing so.

ers perform better. So, if you like what you are seeing make sure they know it!

Sharing the Performance Hall

Maybe clap, hoot and holler, or stand

with Other Audience Members

up and cheer. However, when express-

• Consider whether any talking you do during the performance will prevent your seat neighbors or other audience

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• Out of respect for the performer(s), if you do not like some part of the performance, please do not boo or shout anything derogatory. Remember, a lot of hard work went in to creating the performance you are watching and it takes great courage for the performer to share his or her art with you.

Share your Experience with Others • An important part of any performing arts experience is sharing it with others.

This can include whispering to your seat neighbor during the performance, talking to your friends about what you liked and didn’t like on the bus back to school, or telling your family about the performance when you get home.

More Information • For more specific details about coming

ing your own personal enjoyment of

to the concert (start time, bathroom

the performance, consider whether

locations, length), see pages 6-8 of this

your fellow audience members will be

guide.

able to see or hear what’s happening

ABOUT SALSA

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ABOUT

W H AT I S S A L S A ?

Background Salsa, born in the 1960s and maturing into the 1970s, finds its roots in New York City, America’s cultural nexus. With Jazz and R&B holding popularity in night clubs where the Cuban Son and Puerto Rican Bomba and Plena genres were played and developed into the mambo, the next generation naturally created a mezcla, or mixture. Salsa is a dance genre, with syncopated beats shaped around the clap of the clave. Its lyrics are typically in Spanish, but its rhythms are universal. Horns (typically trumpets or trombones) are prominent and used as accents to the arrangement. What is interesting about Salsa music is that it is not typified by any one style of music (it encompasses many Latin music styles like Son and Mambo, for example), but it is somehow all encompassing and is easily identifiable. The biggest name in Salsa is the Fania record label, boasting its “AllStar” lineup of the greatest names in the business, including the masterful duo of

ers such as Marc Anthony and La India

the 1950s, providing a capricious sound-

Willie Colón and Hector Lavoe as well as

gained fame (led by producer Sergio

track for the Mamboniks to react to. At

the politically-minded Colombian, Ruben

George) that youthful Salsa fans returned

the same time, there were many other

Blades. Once Salsa matured in the 1970s,

to the dance floors of New York City.

factors at play to bring about the recon-

it was a full-blown Latin American move-

ciliation of the next generation’s amal-

ment. The addition of Blades to the label

A look at the most immediate Latin roots

gam known as Salsa, a term coined by

brought the genre heavily into the social

of Salsa music requires a tip of the hat

Fania Records’ Jerry Massucci, intended

and political movements of oppressed

to the big three big band Mambo kings:

for improved marketing. The traditions of

South and Central American peoples. In

Tito Rodriguez, Machito and his Afro-

many Latin American cultures use Salsa

the 80s, Salsa found itself dichotomized

Cubans, and, of course, Tito Puente.

as a meeting point, but it was surely the

into sub-genres such as Salsa Romántica.

The Palladium Ballroom in Manhattan

impression left by the Palladium Ballroom

While these sub-genres found success

saw some of the greatest performers of

mixed with the unrest of Barrio Poverty

in much of Latin America, it alienated

Latin music and dance the world has ever

that acted as the spark to ignite the Salsa

original Salsa lovers in New York. It was

known. The big three led the way in craft

movement.

not until the 1990s when Pop Salsa sing-

and skill of the Mambo dance craze of

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“The music today is now a hugely popular form in Europe, Asia and Africa in addition to its traditional popularity in the Caribbean as well as North and South America. Like jazz most of the pioneers of the form are getting up in age if they have not actually passed

away but the tradition is kept very much alive by neo-traditionalists , experimentalists and the vast majority who rest somewhere in between the two. In its simplest form Salsa marries African derived rhythms

with Spanish melodies and language and mixes these two traditions up with instruments that hail largely from Cuba and Western Europe. Other countries like Puerto Rico and to a lesser extent Colombia, Panama, Venezuela and Peru have all contributed something important to the development of Salsa both as performers and consumers of this musical and dance-based form. Today however we find

Salsa clubs in Tel Aviv + Tokyo and Texas and the cross section of people practicing the form both as dancers and players mirrors this new global diversity and interest.”

– From the Baby Loves Salsa website http://babylovessalso.com/parents/

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Salsa: Dance or Music?

and it was the children of Palladium and

seen success in its adaptations and reflec-

Salsa was a musical form first and the

of Puerto Rican and Cuban immigrants—

tions. Regaton is born of a similar past

word “Salsa” means “sauce” in Span-

who grew up with salsa music, the

as Salsa and often samples Salsa classics

ish. It takes ingredients from mambo,

mambo movemets, and American pop

directly. Marc Anthony arrived late on

boogaloo, traditional jibarito (term for

culture—that eventually combined styles,

the Salsa scene and has had continued

Puerto Rican farmers) music, bomba,

creating a new dance form: the Salsa.

success even today throughout all of the

plena, bolero, cha-cha-cha, rumba, son, and many other Latin American musical styles. Being representative of so many Latin American styles, Salsa music gained much popularity and support from the Latin American world during the 60s and 70s when Fania Records was prominent.

Typically, with new music comes new dance, and in response to Salsa music, people began developing intricate dance moves based on relatively simple steps with origins in the mambo dance form.

The mambo already had significant popularity with New York’s Hispanic community through the city’s Palladium Ballroom

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Americas. There are many examples such Cultural Impact As a movement in America, outside of New York City, Salsa had a surprisingly unimpressive cultural impact. While they were able to sell out Yankee Stadium, that was exclusively to the large Hispanic popluation in the area. Their main success lay in Latin American countries.

Salsa had particular success with its social message songs in oppressed nationstates like Colombia. As time has passed and an appreciation for a greater variety of styles of past and present has become normative in the United States, Salsa has

as these where Salsa music has had a direct cultural impact. In terms of Salsa as a dance form, it is one of the most popular forms today, featured on television shows like Dancing With The Stars. It is danced in night clubs by young and old alike, and it has even inspired the creation of the M Salsa club here at the University of Michigan. Salsa dance and music have the same root benefit of a sense of freedom and power, while maintaining familiarity and flow.

www.babylovessalsa.com

ABOUT

B ig N ames in S alsa

Fania Records – main record label of

Willie Colón – the original Fania All-

Celia Cruz – known as the “Queen

the Salsa movement; founded by Johnny

Star; trumpet player and a main song-writ-

of Salsa” as well as “La Guarachera de

Pacheco

er for the label; his first album “El Malo” is

Cuba;” had a successful career before

what put Fania Records on the map

joining the Fania family; the first major

Jerry Massucci – a lawyer who fronted money for Fania Records and became

Hector Lavoe – lead vocalist for many

a business partner to Johnny Pacheco

Fania albums; usually worked with Willie

and business manager of Fania Records

Colón on his albums

Johnny Pacheco –original founder

Ruben Blades – late comer to the

and CEO of Fania Records, as well as a

Fania family; became very well-known for

clarinetist and band leader in his earlier

his socially aware songs; very popular in

years as a musician

Central and South America where there

female salsa artist

was much political strife at the time of Fania’s prevalance UMS 10-11

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INSTRUMENTS

P ercussion in F ocus instrument descriptions from www.pbs.org/wgbh/latinmusicusa/#/en/exp/salsa/read

Claves Made from a pair of wooden

gan to change: playing congas as a set

include the timbales, bongo and conga,

dowels, claves are struck against each

of two, three, or four became popular;

forming the core rhythm section that is

other to create a short, sharp click.

tuning systems with lugs and bolts al-

central to Latin Jazz and Salsa.

Although clave-like instruments appear

lowed for greater precision; and synthetic

wherever sticks are found, claves are gen-

heads helped standardize the sound. The

Bongo The bongo is made of two

erally thought to have developed in 17th

result was an instrument with a variety of

differently-sized hand drums joined with

century Havana shipyards, from the dow-

tones and timbres that made it suitable

a piece of wood. Bongoceros (bongo

els used in shipbuilding. There the claves

for a wide range of different musical

players) usually play seated, with their

kept time and marked the two-measure

styles, evident today by the ubiquitous

instrument placed between their knees.

rhythmic cell characteristic of West

presence of congas in Latin music and

Unlike the many drums found in Cuba

African music. It was not until the 1940s

their frequent appearance in other

that originally came from Africa, the bon-

that this rhythmic cell became known as

genres.

go was developed in the eastern Oriente

the clave, by which point claves were an

region of Cuba. Oriente is also where

essential instrument of Rumba and the

Timbales A creolized version of the

Son music developed, and the bongo

popular Son from eastern Cuba. Though

timpani or kettledrum, timbales appeared

was essential to the popular sextets

easy to play, the claves’ role in marking

in late 19th century Cuba and became

and septets that, starting in the 1920s,

the clave rhythm makes them an impor-

essential to the sound of the popular

performed Son throughout Cuba. In the

tant instrument, and the person playing

Danzón. Timbales are shallow, open-

1940s, when Arsenio Rodríguez trans-

them an essential timekeeper in Afro-

bottom drums with a metal shell (cás-

formed the Son septeto (septet) into the

Cuban and Salsa ensembles.

cara). Like many Afro-Cuban percussion

brass, piano, and conga-enhanced Cuban

instruments, they come in “sexed” pairs,

conjunto, his bongosero also doubled

Congas Conga drums, also known as

with the macho (male) slightly smaller

on the compana (cowbell), switching

tumbadoras in Spanish, are one of the

than the hembra (female). To allow the

from bongo to compana during the

principal percussion instruments in Afro-

player (timbalero ) to play while stand-

intensive montuno (call-and-response)

Cuban music. They are primarily used

ing, timbales are mounted on a stand

passages. Played primarily with the

to play a drum pattern called tumbao,

that can also accommodate cowbells,

fingers, the piercing, high-pitched tones

although in the hands of a master conga

woodblocks, and even cymbals, making

of the bongo allow it to stand out, even

player, or conguero, they are powerful

a sort of Latin drum kit. Timbaleros usu-

in large orchestras. As Son traveled

improvisational instruments. Congas are

ally play with a pair of wooden sticks, but

to the United States, so did the bongo.

uniquely Cuban, probably first made by

also use their hands to produce a wide

The Cuban bongo, conga and timbales

covering empty rum barrels with animal

range of sounds, including the cáscara

became essential to the rhythm sections

hides, and tuned by heating the hides

rhythm that is played, as the name sug-

of Latin Jazz orchestras, and, years later,

with a flame. Congueros normally played

gests, on the metal shell. The Latin Jazz

Salsa ensembles.

only one drum, but in the 1950s, this be-

ensembles of the 1940s were the first to

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CONGAS

TIMBALES

CLAVES

BONGO

O ther S A L S A B and I nstruments While the claves, timbales, and congas are the instruments of a typical salsa ensemble percussion section, other complementary instruments make up the full ensemble, including the following:

Maracas

Guitar

string bass

CUATRO

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BABY LOVES SALSA

www.babylovessalsa.com

UMS 10-11

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ABOUT

A S tatement from B aby L oves S alsa “Rhythm is a language which the human body responds to instantaneously regardless of whether the listener has learned how to dance or not, or whether the listener

What to expect...

knows the language of the song. As soon as a strong rhythm is repeated over and over again in a few cycles, a trance will take hold on the listener no matter what his

The band will play salsa-style

level or degree of listening or his age. This is why salsa is so popular. It is an instantly

songs aimed towards a child

gratifying feeling that happens when the great tropical rhythms begin to flow into

audience. Songs are typically

your ears.

bilingual and are often directed towards teaching Spanish to

And this bi-lingual, cross-cultural, rhythmic mélange flows from the first note of

young English-speaking (or teach-

a Baby Loves Salsa (BLS) show. It is a smooth and subtle sound that inspires and

ing English to young Spanish-

provides an atmosphere for young people and families to enjoy music and dance

speaking) audience members.

together, and share educational themes both for kids and adults, including brief

Themes include members of the

journeys into clave land (the backbone of salsa), and the live building up of a “son”(

family, colors, instruments of the

a Cuban rhythm and the foundation of salsa). Featuring some of the top musicians

band, and dancing. The venue has

in contemporary Latin music, BLS spins out of the recently established tradition and

a stage, a small orchestra pit, and

success of the Baby Loves Disco and the Sharon Jones led Baby Loves Jazz record and

a house consisting of a main floor

band. We believe that music that is geared towards children should not be “chil-

split into 3 sections with a balcony

dren’s music” necessarily

above. While this is not an optimal

space for dancing, we do encour-

Founded by singer/songwriter/arranger, Jose Conde (Ola Fresca), BLS performs songs

age audience members to get up

in different rhythms under the umbrella of salsa. From Cuban son, to Colombian

and dance at their seats if they are

Cumbia, from Descarga, to Puerto Rican plena, from cha-cha-cha, to merengue

so moved.

to rumba guaguanco. The shows are like a journey through the tropics to African roots and to imaginary places. The band is made up of friends who play together on many occasions and have separate projects in the New York area but come together here in Baby Loves Salsa. The bi-lingual lyrics in the songs are about cats and dogs, going to the beach, the family of music, a drum that wants more respect from the piano etc. Some of the songs are original and the rest are original BLS “salsafied” renditions of children’s classics such as Old Macdonald and “Wheels on the Bus”.

We love and encourage Audience participation BLS shows J!!! Baby Loves Salsa has recorded one cd to date and it is called “Songs for Gatitos y Perritos” which means, songs for little cats and little dogs!“ - Baby Loves Salsa

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PEOPLE

J orge , J ose , M arvin + A le x JOSE CONDE - Singer

band, nu Latin groove. Conde’s music has

friends laugh until their ribs ache. He is

Musical traveler, adventurer, poet, and

appeared in numerous compilation CDs,

currently also performing with the very

chef of melodies, Jose Conde was born

including Putumayo, Rough Guide, and

caliente band from NY LA Exelencia, as

in Chicago, Illinois, but was raised in the

Universal, and his music has also been

well as working on a book about Cuban

multicultural and topical paradise of Mi-

used in films on PBS and Cable channels.

bass technique and his first solo album.

ami, Florida by a Cuban immigrant single

The winner of the 2008 Best Latin Record

mom. At a very early age, Conde began

in the Independent Music Awards, Jose

his musical training by singing along to

Conde has played many great festivals

Marvin Diz - Percussion

the radio and imitating the recorded

and venues throughout North America

Marvin Diz comes from Habana, Cuba

sounds of humans and the instruments

and hopes to present his first European

and a family of distinguished musicians.

that humans play. Jose became an expert

shows this summer or soon thereafter.

As a boy he quickly moved from playing

“hummer” and could sing songs and

imitative percussive licks on buckets and

recite whole guitar solos like the one

furniture to las tumbadoras or congas.

on the Eagles Hotel California on “neer,

JORGE BRINGAS - Bass

The boy that was enamored with percus-

ni neer ni neer ni neer neer”….. This

Havana, Cuba native, Jorge Bringas,

sion went on to study it formally as a

was the beginning of his education in

came to the US following his family in

young man and in doing so, he received

musical vocabulary. Many years later he

the late 1990’s. In Cuba, he studied

tutelage from some of the best percus-

supplemented this early exploration with

with Carlos del Puerto and played and

sionists in Cuba including the percussion

formal musical studies at Berklee College

toured with Omara Portuondo of Buena

legend “Changuito.” Marvin left Cuba

of Music.

Vista Social Club fame. In the US, he

in 1999, defecting to Costa Rica where

first settled in Miami and toured and

he performed with a number of bands

As he grew up Conde came into contact

recorded with international Cuban diva

and musical projects. After a brief time

with many tropical music sounds from

Albita and the late great Celia Cruz. He

in Mexico City, he relocated to New York

musical and non musical sources, includ-

later lived briefly in Minneapolis where

in 2002. New York has provided the

ing, Cuban son, and mambo, funk, pop,

he joined the band of former Cubanismo

possibility to record in productions with

rock salsa, etc, as well as non musical

pianist Nachito Herrera and was one of

Conjunto Chocolate, Xiomara Laugart,

sounds that implied music, which he

the founding members of the Timba

Miguel Valdes, Edmar Castañeda, Pedro

found abundant in South Florida. Even-

band Tiempo Libre. Later Jorge came to

Martinez, Grupo Huracanes, Bobby

tually he started writing and arranging

New York where he immediately asserted

Carcases, Minimo, Grupo Ibboru, Chiemi

songs blending all of his influences and

himself as one of the top Latin bass

Nakai, Yorgis Goiricelaya, and Jose Conde

inspirations. Jose Conde has recorded

players on the scene. In New York he has

y Ola Fresca. He was part of Brian Lynch’s

three albums to date, two with his band

performed with Chico O’ Farrill, Marc

CD Simpático which won a Grammy for

Ola Fresca and one with the Baby Loves

Ribaud, Juan Carlos Formel, ex-Bamboleo

best Latin Jazz record. Marvin’s innova-

Salsa band. He has a new self-titled

Yordamis, Pedrito Martinez and the LP

tive percussionist vision is on full display

record that will be released worldwide

allstars, and Jose Conde y Ola Fresca

in his acclaimed solo record Habla el

in June of 2011 and will be accompa-

amongst others. “Jorgito” loves to crack

Tambor, which he released on his own

nied by touring and shows with his new

jokes and make fellow musicians and

label in 2008.

22

UMS 10-11

 Alex Fernandez Fox - Cuban Tres

from Georgetown University. He studied

Alex Fernandez Fox is a New York born

classical guitar at the Mannes College of

Cuban-American artist, multi-instrumen-

Music and guitar and percussion at the

talist, composer, singer, and songwriter.

National Arts School (ENA) in Havana,

Alex plays guitars and other instru-

Cuba. Alex’s new album, UNO, his first

ments, performing primarily on the tres,

collection of original songs, was recently

a Cuban cousin of the Spanish guitar.

released on the Del Zorro record label

He has performed at festivals and local

and is now available online.

music venues throughout North America and in Europe with many ensembles in many configurations. He holds degrees from Duke University, where he played piano in the Duke Jazz Ensemble, and UMS 10-11

23

REPERTOIRE

L ikely T o B e P erformed Baby Loves Salsa is likely to perform the following three pieces (in addition to other repertoire) during the Youth Performance: “Pititi y Titi,” “Arsenio Ruf Ruf,” and “Mi Familia es la Musica.”

Where available, below are video and audio links as well as lyrics for the songs.

(French)

(English Translation)

from Jose Conde y Ola Fresca’s

Avec Pititi et Titi

With Pititi and titi

album Revolucion

Nous allons jouer un riquitiki

We are going to play a riquitiki

tiki tiki ta tiki tiki tiki ta

tiki tiki ta tiki tiki tiki ta

avec Titi et Pititi

with titi and pititi

Le papa de Pittiti avait une obsession

The papa of Pittiti

Il a rêvé que son fils sera

Had an obsession

un docteur dans la profession,

Dreamed that his son would be

doctor en profession,

Pititi y Titi –by Jose Conde

Video: http://www.facebook.com/video/ video.php?v=191212324224

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UMS 10-11

Mais avec un nom comme Pititi

But with a name like pititi

Il n’y avait rien a faire

He just had no choice

Depuis le jour ou il est ne’

From the day he was born he was lost

Il la Perdue a la percussion

To percussio

Avec Pititi et Titi

With Pititi and titi

Nous allons jouer un riquitiki

We are going to play a riquitiki

tiki tiki ta tiki tiki tiki ta

tiki tiki ta tiki tiki tiki ta

avec Titi et Pititi

with titi and pititi

Titi était une fille

Titi was a girl

avec onze frères aine’s

With eleven older brothers

Toujours jaloux de ses amours

Who intervened in her affairs

Ne lui foutaient jamais la paix

And made her life imposible

Elle a voulu la danse et chante dans un

She wanted to sing and dance

group de Son Elle a rencontré Pititi

In a small group that played son

et s’est échappée

When she met Pititi She escaped

et elle a suivi son passion interne

And followed her eternal passion

Avec Pititi et Titi

With Pititi and titi

Nous allons jouer un riquitiki

We are going to play a riquitiki

tiki tiki ta tiki tiki tiki ta avec

tiki tiki ta tiki tiki tiki ta

Titi et Pititi

with titi and pititi

Arsenio RUF RUF

Mi Familia es la Musica

(from the Baby Loves Salsa record)

(My Family is Music)

Audio: http://www.youtube.com/

Audio: http://babylovessalsa.com/

watch?v=7oCudVfHZ88 (original by

mi_familia_es_la_musica.mp3

Arsenio Rodriguez) My Mom is mama This song is an homenaje (homage)

My dad is papa

to the Cuban tres guitar and to the

Sister is hermana

great Cuban composer and tres gui-

Abuelo is grandpa

tar player, Arsenio Rodriguez. He was

a blind musician who left Cuba at the

Auntie es mi tia

height of his career in the late 1940’s

Uncle es mi tio

and settled in New York where he

My brother is hermano

continued to write songs and influ-

Abuelo is grandpa

ence the music that would become

“salsa” as we know it today.

Mi Familia es la musica

Arsenio Ru Ru toca tu tres Un dos tres toca tu tres Arsenio ru ru play your tres One two three play your tres

There is a Guitar That is called a Tres With Three pairs of Strings Uno Dos Y Tres The Tres Plays the Montuno In Son And Changui With a wooden Body and Metal Strings And a sound that’s brighter than diamond rings

Arsenio Ru Ru toca tu tres Un dos tres toca tu tres Arsenio ru ru play your tres One two three play your tres UMS 10-11

25

CONNECTIONS

V isual + P erforming A rts The following artwork is part of the University of Michigan Museum of Art Collection.

Look at the images on pages X and Y and consider the following: How do these two images reflect your perception of Latin American culture?

Carlos Merida (Mexican, born Guatemala, 1891-1985) Festival Dances of Mexico – Dance of the Umbrellas 1893-1944 Color lithograph

If you wrote or could pick a piece of music to represent each of these images, what kind of music would it be? Why? How are these two images similar?

How are they different?

How do these two images physically represent music?

What are three words you would use to describe each image?

How do these three words relate to what you know about Latin American culture?

How might each piece relate to the work of Baby Loves Salsa?

What material (mode) are these images made out of?

How does that affect how they appear and what they represent?

26

UMS 10-11

Museum Purchase, 1944.10

2003/1.368

Gift from the Family of Edwin N. Ferdon,

Lithograph

1940-1949

Dog Carnival

Chet LaMore (American, 1908-1980)

RESOURCES

28

UMS 10-11

ENGAGE

N ational S tandards The following are national standards addressed through this Youth Performance and through the ideas in the following curriculum connections.

English Language Arts

APPLIED ARTS

Social Sciences

English Language Arts K-12

Technology K-12

Geography K-12

NL-ENG.K-12.6 Applying Knowledge

NT.K-12.9 Basic Operations and Concepts

NSS-G.K-12.1 The World in Spatial Terms

NL-ENG.K-12.7 Evaluating Data

NT.K-12.3 Technology Productivity Tools

NSS-G.K-12.2 Places and Regions

NL-ENG.K-12.8 Developing Research Skills

NT.K-12.5 Technology Research Tools

NSS-G.K-12.4 Human Systems

NL-ENG.K-12.12 Applying Language Skills Civics K-4 NSS-C.K-4.2 Values and Principles of

MUSIC Music K-4 NA-M.K-4.6 Listening To, Analyzing and Describing Music

Democracy NSS-C.K-4.3 Principles of Democracy NSS-C.K-4.4 Other Nations and World Affairs U.S. History K-4 NSS-USH.K-4.3 The History of the United States: Democratic Principles and Values and the People from Many Cultures Who Contributed to its Cultural, Economic and Political Heritage NSS-USH.5-12.3 Revolution and the New Nation (1754-1820s)

UMS 10-11

29

ENGAGE

C urriculum C onnections The UMS Youth Performance by Baby Loves Salsa gives students the chance to explore the music, geography, history, communities, and cultures of America. To help connect these performances to classroom curriculum, pick one of these concepts and activities or create an entire interdisciplinary curriculum with these as a base.

Descriptive Writing

Music Rhythm, Comparisons

they think the band is named fresh wave.

As an introduction to this concert ask

Tell students that a man whose name

What could that mean or refer to when

your class to define salsa.. If they

is Jose Conde is the leader of the band

you think about music? Tell students

respond that it is a food or a sauce or a

they will hear and that his family came

that the name of a band can be impor-

dip, ask them what is in it. If you can,

from Cuba, so the salsa music he writes

tant. It can tell you about the music

have a salsa tasting with different kinds

and performs is made up of traditional

the band plays or about how the band

of salsa and chips. Make a list of all the

Cuban rhythms and style mixed with the

thinks of itself. Tell students to pretend

words students can think of that describe

modern or contemporary sounds and

that they have a band. What would they

a taste. Have them pick which words

styles that he likes. Cuba’s early salsa

name it? Why?

on the list describe the salsa. Define

music incorporates a call-and-response

metaphor and simile. Write together as a

structure. Define this. Give students

When people talk about salsa they may

class, or have students individually write

some examples and sing some call-and-

also be talking about a kind of dance.

fun descriptions of the taste of salsa.

response songs. What other cultures

Ask students if they have ever done salsa

use a call-and-response structure in their

dancing or seen it done. Go to Youtube

music? Do we?

and show students some salsa dancing.

Transportation, Communication and Globalization

Try it.

Determine that salsa is made up of

The Rhythm is important in salsa music.

several ingredients, not just one. Tell

The African influence can be seen in

It is hard to sit still when you listen to

them that they are going to hear salsa

the types of drums used. You might

salsa music. It has a very distinctive

music and that there are many kinds of

find four sizes of Conga: tumba, conga,

beat. Play some of this music and have

salsa music. Like the salsa we eat, which

quinto and requinto. The bongo, tim-

students move to the beat. If they have

is made up of many kinds of ingredients,

bales including chachacha bell, salsa bell,

talked about meter and rhythm in music

salsa music is made up of many kinds of

wood block and cymbals and also shells,

class, have them count to the music. Play

rhythms and melodies. Some say that it

maracas, and other shakers are used.

some other kinds of music with differ-

has African rhythms, Spanish melodies

Look at pictures of these instruments and

ent kinds of rhythm and have students

and is played with instruments from

listen to the way they sound. Music can

move to that. You might play a march

Cuba and Western Europe. Ask older stu-

be found be googling salsa music and

and a waltz. Tell students to use as many

dents what transportation, communica-

instruments.

descriptive words as they can to compare

tion and globalization might have to do

the different kinds of music and rhythms

with salsa music. Discuss the way music,

Jose Conde’s band is called Ola Fresca.

like other things, spreads throughout

Ola Fresca is a Spanish name which

a country and from country to country,

means fresh wave. Why does the band

often changing as it goes.

have a Spanish name? Ask students why

30

UMS 10-11

they hear.

Mapping

from friends and family where the lan-

form of government of a country affect

Jose Conde was born in Chicago and

guage and customs might be unfamiliar

the every day life of the people who live

raised in Miami, Florida. His parents

and jobs hard to get. List some reasons

in the country? What are the democratic

came to this country from Cuba. There

people immigrate. Think back to the

principles upon which our country is

are a lot of people who came to the

beginning of our country. Except for the

based? What is the bill of rights? What

United States from Cuba living in Florida.

Native Americans, everyone was an immi-

kinds of things does our Constitution

Ask students why they think this is so.

grant. Why did the colonists come here

assure each citizen has? How is this the

Take out a map and see if students can

to live? Are the reasons for immigration

same or different in Cuba? (younger

find Cuba. Tell them to find Florida.

today the same as they were in the early

students can learn the name of our

Now can they answer the question?

years of our country?

president and the name of the leader of

Figure out how many miles Cuba is from Florida.

Cuba. They can learn that the two counAre there any immigrants in Michigan to-

tries are governed differently and you can

day, people coming from other countries

explain in simple terms, perhaps using a

Cuba has only four letters. A fun

to live in our state? From which coun-

king as an example, how that is.)

homework assignment would be to find

tries are they coming? In which parts

as many countries as you can with four

of the state are they settling? Why did

Cuba, The Country, Research

letters or less. Some examples are Iraq,

most of them come?

Skills

Iran, Figi, Peru, Oman, Laos.

Divide your class into groups and tell Asylum, Asylum Seekers, Re-

each group to reasearch one of the fol-

Family and Community

search Skills

lowing topics and present their findings

Many Cubans live in Miami, Florida. They

Some people come to this country seek-

to the class in an oral report, power point

form Cuban communities. Many speak

ing asylum. What is that? Define asy-

presentation, podcast or video: Cuba’s

Spanish to each other and celebrate Cu-

lum. If someone is seeking asylum here

climate and a description of the land;

ban holidays together. Why would they

because they are afraid to live in their

some of the history of Cuba; the popu-

settle near each other? How would that

own country, are they always welcomed,

lation of Cuba, some statistics about it in-

help them live more comfortably in the

allowed in and allowed to become

cluding ethnic background of the people;

United States? Younger students study-

citizens? Discuss immigration laws and

plants and animals of Cuba; Cuba’s

ing families and communitites might like

the rules that govern asylum seekers. At

government; Cuban art and Cuban artists

to learn about Cuban foods and culture

this point talk about persuasive writ-

and other topics you and your students

and holidays and compare the Cuban

ing. Tell students to take a stand on

might find interesting.

family and community to their family and

whether the United States should accept

community.

all people seeking asylum. They should

Ask students what language they speak

write a paper expressing their opinion on

in Cuba. Tell them to pretend that they

Immigrants and Immigration,

this topic and trying to persuade others

are going to visit Cuba and will have

Past and Present

that they are right. This might also be a

to know some Spanish to get along.

A person who comes from another

good time to introduce a unit on debate

Have each child make a dictionary of

country to live in this country is called

with asylum seekers the topic. Research

the words he or she thinks it would be

an immigrant. Ask students if they have

skills should be taught here and students

important to know when visiting Cuba.

relatives who were or are immigrants.

should be encouraged to use both print

If your students are studying Spanish,

Make a list of the countries they came

and computer sources.

have them put in both the Spanish and

from. Graph this.

the English words. Their dictionaries can

Ask students if they have heard any

Forms of Government, Compari-

stories about the countries their relatives

sons, Democratic Principles

came from or about their journey to The

If you are studying our government and

United States. If so, share these.

the democratic principles on which it is

be illustrated.

based, take a look at Cuba and see how Ask students why a person would leave

it differs from the United States. What

the country in which he or she was born

form of government do we have? What

and raised and go to another country far

form does Cuba have? How does the UMS 10-11

31

EXPLORE

A dditional R E S O U R C E S Web Sites

Organizations University Musical Society

Wayne State University

Instruments of Puerto Rico

881 N University Ave

Center for Chicano-Boricua Studies

www.musicofpuertorico.com/index.php/

Ann Arbor, MI 48109-1101

3324 Faculty Administration Building

(734) 615-0122

656 W Kirby

umsyouth@umich.edu

Detroit, MI 48202

Baby Loves Salsa

www.ums.org

(313) 577-4378

www.babylovessalsa.com/

aa1941@wayne.edu

www.babylovessalsa.com/parents/

Compรกs

www.clas.wayne.edu/cbs

instruments/cuatro/

(Resources for Parents)

Center of Music and Performing Arts Southwest

Artes Unidas de Michigan

Latin Music USA

Odd Fellows Building

P.O. Box 16088

www.pbs.org/wgbh/latinmusicusa/#/en/

8701 W Vernor Hwy

Lansing, MI 48901-6088

Detroit, MI 48209

(517) 335-0466

(313) 554-0791

info@artesunidas.org

New York Map

compascenter@yahoo.com

www.artesunidas.org

www.mustseenewyork.com/grid/map02. html

www.compascenter.org Tulipanes Latino Art & Film Festival University of Michigan

P.O. Box 1455

Center for Latin American and

Holland, MI 49422-1455

Caribbean Studies

(616) 394-0000

2607 Social Work Building

info@tulipanes.org

1080 South University St

www.tulipanes.org

Ann Arbor, MI 48109-1106 (734) 763-0553 lacs.office@umich.edu www.ii.umich.edu/lacs

32

UMS 10-11

exp/salsa/read

UMS

UMS

W H AT I S U M S ?

The University Musical Society (UMS) is committed to connecting audiences with performing artists from around the world in uncommon and engaging experiences.

One of the oldest performing arts presenters in the country, the University Musical Society is now in its 132nd season. With a program steeped in music, dance, and theater performed at the highest international standards of quality, UMS contributes to a vibrant cultural community by presenting approximately 60-75 performances and over 100 free educational and community activities each season.

UMS also commissions new work, sponsors artist residencies, and organizes collaborative projects with local, national, and international partners.

UMS Education and Community Engagement Department MAILING ADDRESS 100 Burton Memorial Tower 881 North University Ave

STAFF

INTERNS

Kenneth C. Fischer,

Caroline Buse

UMS President

Ann Arbor, MI 48109-1011

Neal Kelley Claire C. Rice Interim Director

Matthew MejĂ­a

Mary Roeder

Emily Michels

Residency Coordinator

Britta Wilhelmsen Omari Rush Education Manager

34

UMS 10-11

UMS

U M S Y O U T H E D U C AT I O N P R O G R A M 10 THINGS TO KNOW

QUALITY Every student deserves access to

ACCESSIBILITY Eliminating participation barriers

“the best” experiences of world arts

Working directly with schools to align our programs with classroom

• UMS subsidizes Youth Performance

and culture

K-12 SCHOOL PARTNERSHIPS

goals and objectives

tickets to $6/student (average subsidy: • UMS presents the finest international

$25/ticket)

performing and cultural artists.

Ann Arbor Public Schools and the Washt• When possible, UMS reimburses bus-

• Performances are often exclusive to

• Superintendent of Ann Arbor Public • UMS Youth Education offers person-

Schools is an ex officio member of the

alized customer service to teachers in

UMS Board of Directors.

• UMS Youth Performances aim to

order to respond to each school’s unique

present to students the same perfor-

needs.

mance that the public audiences see (no watered-down content).

enaw Intermediate School District.

sing costs.

Ann Arbor or touring to a small number of cities.

• 14-year official partnerships with the

• UMS has significant relationships with Detroit Public Schools’ dance and world

• UMS actively seeks out schools with

language programs and is developing

economic and geographic challenges to

relationships with other regional districts.

ensure and facilitate participation.

• UMS is building partnerships with or of-

DIVERSITY Highlighting the cultural, artistic,

fering specialized services to the region’s ARTS EDUCATION LEADER

independent and home schools.

and geographic diversity of the world One of the premier arts education • Programs represent world cultures and

programs in the country

mirror school/community demographics.

• UMS’s peer arts education programs: Car• Students see a variety of art forms:

negie Hall, Lincoln Center, Kennedy Center.

classical music, dance, theater, jazz, choral, global arts.

• UMS has the largest youth education

UNIVERSITY EDUCATION PARTNERSHIPS Affecting educators’ teaching practices at the developmental stage

program of its type in the four-state region

• UMS Youth Education is developing

• UMS’s Global Arts program focuses

and has consistent school/teacher participa-

a partnership with the U-M School of

on 4 distinct regions of the world—

tion throughout southeastern Michigan.

Education, which keeps UMS informed

Africa, the Americas, Asia, and the Arab World—with a annual festival featuring

• 20,000 students are engaged each sea-

the arts of one region.

son by daytime performances, workshops and in-school visits.

• UMS Youth Education was awarded “Best Practices” by ArtServe Michigan and The Dana Foundation (2003).

of current research in educational theory and practice.

• University professors and staff are active program advisors and workshop presenters.

UMS 10-11

35

KENNEDY CENTER PARTNERSHIP

TEACHER ADVISORY COMMITTEE

• UMS Youth Education has been a

Meeting the actual needs of today’s

member of the prestigious Kennedy

educators in real time

Center Partners in Education Program since 1997.

• Partners in Education is a national consortium of arts organization and public school partnerships.

• UMS Youth Education works with a 50-teacher committee that guides program decision-making.

• The Committee meets throughout the season in large and small groups

• The program networks over 100 na-

regarding issues that affect teachers and

tional partner teams and helps UMS stay

their participation: ticket/bussing costs,

on top of best practices in education and

programming, future goals, etc.

arts nationwide.

IN-SCHOOL VISITS & CURRICULUM PROFESSIONAL DEVELOPMENT “I find your arts and culture workshops to be one of the ‘Seven Wonders of Ann Arbor’!”

–AAPS Teacher

DEVELOPMENT Supporting teachers in the classroom • UMS Youth Education places international artists and local arts educators/ teaching artists in classes to help educa-

• UMS Youth Education provides some

tors teach a particular art form or model

of the region’s most vital and responsive

new/innovative teaching practices.

professional development training.

• UMS develops nationally-recognized

• Over 300 teachers participate in our

teacher curriculum materials to help

educator workshops each season.

teachers incorporate upcoming youth performances immediately in their daily

• In most workshops, UMS utilizes and engages resources of the regional community: cultural experts and institutions, performing and teaching artists.

36

UMS 10-11

classroom instruction.

UMS Youth Education Program umsyouth@umich.edu | 734-615-0122 www.ums.org/education

SEND US YOUR FEEDBACK! UMS wants to know what teachers and students think about this Youth Performance.

We hope you’ll send us your thoughts, drawings, letters, or reviews.

UMS YOUTH EDUCATION PROGRAM Burton Memorial Tower • 881 N. University Ave. • Ann Arbor, MI 48109-1011 (734) 615-0122 phone • (734) 998-7526 fax • umsyouth@umich.edu www.ums.org/education

UMS 10-11

37

C O L O R I N G PA G E S

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UMS 10-11

www.babylovessalsa.com