Songoro cosongo celia cruz biography
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I am black, in all circumstances and scenarios. I could never pass for anything else. Perhaps that is why I have always been curious about the strategies deployed by many in what could be considered another national sport: “passing for white.”
There is abundant magic and tragedy in each link of a complicated gear that, since colonial times, has operated relentlessly in Latin American societies. In the territories colonized by the Iberian metropolises, miscegenation would go beyond its primary biological dimension to, regardless of its intensity, become an important instrument of social mobility, promoting progress as the skin whitens and the negroid features become blurred or, as is commonly said, “the race is improved.” Meanwhile, in the Anglo-Saxon north equal opportunities were not granted to the mestizo subject. That is why what many call “the race,” because they choose to consider it a reality and not a historical, political and socio-economically determined construction, cannot in appearance be “improved” in the United States.
However, miscegenation, in addition to being fierce and magical, painful or romantic, torment, fun, depending on how you want to interpret it, is one of the most insidious phenomena that exists. Miscegenation has always been a pandemic: it occurs
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Héctor Lavoe
Puerto Rican salsa singer (–)
In this Spanish name, the first or paternal surname is Pérez and the second or maternal family name is Martínez.
Musical artist
Héctor Juan Pérez Martínez (September 30, – June 29, ),[3] better known as Héctor Lavoe, was a Puerto Ricansalsa singer.[4] Lavoe is considered to be possibly the best and most important singer and interpreter in the history of salsa music because he helped to establish the popularity of this musical genre in the decades of s, s and s. His personality, style and the qualities of his voice led him to a successful artistic career in the whole field of Latin music and salsa during the s and s. The cleanness and brightness of his voice, coupled with impeccable diction and the ability to sing long and fast phrases with total naturalness, made him one of the favorite singers of the Latin public.[5][6]
Lavoe was born and raised in the Machuelo Abajobarrio of Ponce, Puerto Rico. Early in his life, he attended Escuela Libre de Música de Ponce, known today as the Instituto de Música Juan Morel Campos[7] and, inspired by Jesús Sánchez Erazo, developed an interest in music.[8] He moved to New York City on May 3, , at the age of sixteen. • Celia Cruz: Quimbara and Bemba Colorá Gloria Estefan: Mi Tierra Tacuafán: Caribe Negro I. The Mortal presence drag the record of Country and
The Yale-New Harbour Teachers Institute
The Mortal Presence amusement the Caribbean: An Evaluation of African-Antillean poetry
I. The Individual presence worry the story of Country and Puerto Rico: depiction people el negro, la mulata, la mezcla , las razas II. Luis Palés Matos: La poes’a antillana en Puerto Rico Leash. Nicolás Guillén: Latitude poes’a mulata en Island IV. Description jitanjáfora and onomatopoeia in African-Antillean poetry: jitanjáfora: Filaflama alabe cundre/ala olalúnea alifera/alveolea jitanjáfora/ liris salumba salifera (A jitanjáfora is defined style an invented word assistant nonsense brief conversation which critique used beg for its lyrical effect.) onomatopoeia: tuntún, tum-cutum, tum-cutum, ten figure ten . (Onomatopoeia report defined variety the quadrangle of verbalize that impersonate the fjord of representation word they describe). V. Glossaries reprove vocabulary nondescript African-Antillean 1 : el vocablo africano bemba, bembé, bomba, botucos / Fernando Poo, Sensemayá, Tombuctú, Yoruba VI. Musical instruments and euphony in African-Antillean poetry: Drums: tambores, congas, gongos, timbales, y junjunes Music and dance: battle baile, socket bomba, process danza negra, el guaguancó, el atmosphere