La Salsa, exprexión authentic popular neighborhoods
Sometime after 1930 and 1942, the break of sound in Cali. In our city they danced, and the rest of the country, rumba criolla, bambucos, whirlpools, and music guabinas the Atlantic coast of Colombia.
ear through the radio stations are created, Cali Radio, The Voice of the Valley, La Voz de Colombia, Radio Higueronía, RCO and Radio Sport, but especially the broadcasts of international broadcasters heard at night as XWE, CMQ, Radio Progreso and Radio Havana, La Habana, knows the music of Trio Matamoros, El Sexteto Nacional, La Sonora Matancera, the Riverside Orchestra, Beny Moré, later Cha-cha and mambo.
memory extends to auditory and visual memory is how the Mexican cinema, in what was called "rumba cinema" with Ninon Sevilla, Tongolele, Meche Barba, María Antonieta Pons Rosa Carmina, presented the Cuban groups and the way of dancing these rhythms.
Cali contemporary history is the history of music and dance. In 1945, the city had just over 150 thousand inhabitants. Fifteen years later, is a sum of districts reaching 470 000 inhabitants. The neighborhood leader This cultural revolution is the Worker, and social components that comprise it. Also the same municipality determines that the tolerance zone is installed, since 1940, in the race 12 with Street 19. Bars and bailaderos born that became milestones such as Copacabana, Ritmo Alegre, Acapulco, Fantasio, Terrace Belalcázar. X-rays, the nest and then Naples and Crabs. Outside of Cali, establishing the route of Cauca, in Juanchito with bailaderos as Agapito and the Pailón.
The city slowly awakens the drum that was inside and black music is the great expression of the popular neighborhoods.
Dancing is clearly imitative, is taking steps to do the mambo Springs. Similarly, the guaracha and the cha-cha. The major innovation occurs with the pachanga, a pace that makes up Johnny Pacheco in New York. La pachanga, as the couple released, gives way to imagination, allows the dancer Cali separated from the tradition and markings are used. In this perspective, we highlight the contributions of a brilliant generation as Jimmy Bogale, Dusan Diego, Antonio Catacoli, Horacio Henao, Felix Veintenillas, Evelio Carabalí, Amparo Arrebato, Spain and the couple Ayde Watusi and Mary. They make the transition from the pachanga, boogaloo through, until the sauce.
With the boogaloo, especially, shows that need the speed of the pace and the soft discs of these musicians, they set off at a faster rate. Is a discussion that requires other points of view to be expanded and this is not the scenario above. The truth is that the dancer Cali not attached to the key, as do the Cubans, but makes a dial all instruments. This style, with its own complexity, has set nationally and now enters triumphantly in international competitions.
La Pachanga continues to be a rate preferred by dancers. Disjockey still in 2000, said: "When the track is one the only sure way to fill the pachanga." No one remembers it today, unless of scholars trying to establish who was really the inventor. Everything seems to indicate that was not Johnny Pacheco and Eduardo Davidson. Radical Cubans, both in Havana and Miami, are already tearing their hair.
In 1974, José Pardo Llada organizing a salsa world championship triumph in which the couple composed Watussi and Mary. Watussi breaks with the past, jump, do tricks, rises, while Mary kept the elegance, sensuality and speed, virtues that we have recovered in dancers as Liliana Salinas and Benicia Cardenas, who started ballet Salsa Cali Rumba, and today living in Italy.
In December 1968, the orchestra of Richie Ray and Bobby Cruz came to Cali to complete this process of hegemony began to be called THE SALSA. Thereafter, until the 90's, the mastery of this music and dance came to Cali as he became known as the Capital of Salsa. It is no exaggeration after the crisis in New York.
The eighties is the decade of Grupo Niche, Guayacan, the emergence of fifty groups, the birth of the most important event in the Feria de Cali as the Festival of Orchestras, the creation of the new anthem City, Cali Pachanguero, Jairo Varela, respected as a cultural icon salsa.
The triumph of the sauce is the victory of the neighborhood as a social entity, of popular culture that has its roots in historical development. Our musical roots are settled in the terms black or mulatto. Jorge Isaacs had already announced in his novel Mary leaving a lengthy testimony of the African presence in the Valle del Cauca. Now Cali is the third black city of Latin America, after the Bay (Brazil) and Havana (Cuba). It also has become the capital of the Pacific, becoming the headquarters of the music festival Petronio Álvarez.
Cali born dancer of the rumba, the family party, share the dances, the aguaelulos, the street festival, the grilles, nightclubs and taverns, from dawn to Juanchito.
From the late 90's, born dance schools. It is time of the economic crisis Cali drug effects, the bands disappear or go into recess, the clubs close, the orchestra festivals let them finish, the Viejoteca born as a popular reaction. These are dance schools must recognize that they took the honor of defending the sauce in Cali and did so with intelligence because they worked from the grassroots and from childhood.
Swing Latino, directed by Luis Eduardo Hernández, was founded in 1999. Now, not only have the merit of representing well the style of dancing Cali, but have been exalted as the best in the world championship in Las Vegas in December 2006. A recent survey of 40 schools tell us active in Cali. Swing Latino is the product of hard work, dedication and talent. As they live their moment of glory, others are ready to take their places.
So the sauce is living in Cali because he is living in their neighborhoods, their roots in the deepest feelings of the poor, says Cheo Feliciano.
already borne the brunt of meneíto, the lambada, a merengue market despite the traditional merengue became part of the sauce. Also of vallenato, which is being undertaken the regueaton, who is getting kicked. In short, fashion is inevitable, but it comes and goes, because it's essentially ephemeral. The sauce is the root, is what remains. It's as if Havana is not, Rio samba, tango and Buenos Aires.
Cali is the most important musical memory of the sauce because it has the music inside. So what to do now, with the group of El Mulato, is a sight to be in any stage of the world. This is the authentic expression of the people from Cali, bravely competing with the Cubans and Puerto Ricans.
Source: Blog Rumba Rumbero - Umberto Valverde
http://www.elpais.com.co/blogs/principal/blog1.php?b=18&n=66
