Merenguero Hasta La Tambora
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Merenguero Hasta La Tambora - Johnny Ventura - Dj Nobleza - Merengue Clasico Intro BPM 2
Merenguero hasta la tambora! Lakes in West Miami. With a vast selection of hotels, Tambor Beach is a dream for beach lovers. There are a number of exciting things to do in Lauderdale Lakes. La Tambora Dominican Restaurant. Jossie Esteban y Patrulla 15 featured Mr. Esteban's perpetually good-humored voice and Ringo Martinez's ingenious horn arrangements, a counterpoint of trombone, trumpets and saxophone.
When Mr. Esteban reeled off names of Latin American countries to welcome the crowd, his list also included Japan, a bastion of Latin music fans. The two Puerto Rican groups were marginally less precise than the groups that followed them. Los Sabrosos del Merengue, wearing silver-lame jackets, offered a ballad, "Te Amo," amid the dance workouts. Cana Brava, with four lead singers taking turns, poured on video-style showmanship; one singer jumped down to sing from the audience. Los Toros Band included a female comedian, in curlers, who played a lusty housewife.
But no matter how many gimmicks they use, merengue bands still make music to be judged on the dance floor. Please upgrade your browser. It also has the ignominious distinction of being the only country in Latin America to request annexation both to Spain and to the United States Given this irregular and sometimes humiliating path to nationhood, it is not surprising that the notion of continuity is a quality that Dominicans insist on in the construction of their national identity. This preference for continuity can be observed in Dominican music in the persistence of the term merengue throughout its history.
This term, of course, refers to the music and the dance that have been around for over two hundred years. Cubans, on the other hand, routinely give each new variation of rhythm that comes into vogue a distinctive name without feeling that the integrity of their musical traditions is being compromised by the many innovations. Similarly in Haiti, even minor musical variations of Haitian music are given different names, i.
Given this deeply ingrained conservatism, the efforts by Convite and Ventura in having conferences to promote a more flexible concept of cultural authenticity did not succeed. In the ls merengue, revamped by Johnny Ventura and Wilfrido Vargas, definitely triumphed in the Dominican Republic, dominating the TV programs and the many radio stations there. Many desperate citizens continue leaving illegally, even by constructing small boats and rafts trying to pass the turbulent Mona Passage between the Dominican Republic and Puerto Rico.
The song consists of four coplas and a series of seguidillas, both of which are formal literary rhymes in Spanish poetry. As heard in this song, Guerra follows in the newer tradition of political and social commentary in merengue, as first started by Ventura and later by Convite. In fact, Guerra composes carefully crafted verses that address modern contemporary issues, a technique which has earned him the title of "poet of merengue.
However, in this same interview, Guerra never mentions African traditions and influences, but only Spanish poetry and other European influences. As with Wilfrido Vargas, Guerra in his song recreates the typical preoccupation of Dominicans in everyday life: the desperation to emigrate in order to survive.
In his song, he observes Dominicans from all social classes gathering early in the morning to apply for a visa. By nine o'clock in the morning there are no more visas. Since the goal of many is to end up in New York and there is no way to get there legally, the only option left is to cross the Caribbean Sea, enter Puerto Rico clandestinely, somehow make it to San Juan and finally take a plane to New York City.
Moya Pons documents this recurrent trip by Dominicans in search of work and a better life Manual However, this merengue ends on a tragic note. The Dominican's dream becomes a nightmare as we hear the sound of a helicopter at the end of the song which reminds listeners that U. If Dominicans are lucky enough to avoid the U. Coast Guard, another equally tragic outcome of their voyage is that the fragile boats might sink and then passengers become bait for the sea. Another song by Guerra, "El costo de la vida," laments the difficult situation of Dominicans who live within the nation's borders.
The lyrics of this song describe how no one, not even Dominican politicians, care about el pueblo dominicano and their worries about the high cost of living, bad medical care, and the no-win situation of emigrating. This song which chronicles everyday life in the Dominican Republic makes important social statements that reflect popular concerns and hopes. However, Guerra's merengues, even though very popular and supposedly representative of the nation's culture, never address the nation's African past or even mention African influences in Dominican culture.
A merengue that vilifies the African influence in this nation is the popular song "El Africano" by Wilfrido Vargas. This fear of a menacing black image is historically part of a Dominican, and also a Caribbean, consciousness dating as far back as the Haitian Revolution of When Haiti became a free nation, French colonists fled to neighboring islands out of fear of reprisals by liberated slaves. The blubbering and "tribal" sounds at the beginning and end of the merengue reinforce this stereotypical depiction of blacks as uncivilized savages.
Merenguero Hasta La Tambora Sheet Music by Johnny Ventura
Along these same lines, Las Chicas del Can reiterate this same feeling of fear and hatred with their merengue "Un negro no puede". In this composition, the black man is feared by these women. In this context, this song is even more problematic, because of obvious sexual innuendoes inherent in the lyrics. Racist and stereotypical images associated with the sexual virility of black men and the allusion to the crime of rape are obvious themes. She is the prototype of a sensual mulatta who seduces a man and then leaves him.
La Pola is, of course, constructed as the Other, and never as a Dominican. In the Dominican Republic, no black consciousness movement stressing racial pride ever developed, as it did in other Caribbean countries. What is also noteworthy is that there is an obvious absence of positive representations of Afro-Caribbeans, Africans, and Afro-Dominicans in official discourse and even in official public areas in the Dominican Republic.
With the exception of the maroon leader Lemba outside Santo Domingo's anthropological museum, there are no monuments to important individuals associated with black pride, whether from the Americas or Africa. On the other hand, many of Santo Domingo's streets are named after Dominican "creole" patriots and statesmen, such as Duarte and Mella, or after white international statesmen, such as Abraham Lincoln, Winston Churchill, and John F. Kennedy, but not one street name honors a black leader.
For decades, the white peasant of the northern region of the Cibao has been constructed as the image of Dominicanness, and his merengue is deemed the symbol of Dominican identity.
In the Dominican Republic, no author has done the same. Merengue is undoubtedly a hybrid, cultural form with the same origins, but it has been reinvented and described by many as merely a variation of European and indigenous elements and influences.
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However, for the past two or three decades, lyrics from the merenguero Johnny Ventura have expressed a view of this creole national identity as not an incarnation of European race and culture, but rather a New World creation born of influences from Africa, other countries in the Caribbean, the United States and also Europe. For example, his song "Merenguero hasta la tambora" celebrates the African influence in Dominican music.
In this song, he defines himself as a musician who plays merengues, but more importantly he proudly sings that he is a lover of this musical form to the core of his being. This innovative cultural form speaks to a revolution in music which reclaims and reinforces an authentic and historical past grounded in African, American, European and indigenous influences.
The Dominican population residing in the diaspora seems to be more conscious of its African past. In addition, Dominicanyorks have experienced North American racism; so, they are definitely more aware of their hybrid African and Hispanic identity.
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The new culture produced in that particular setting often transcends island borders and barriers of politics, race and class. Merengue is, again, becoming a pan-Caribbean, cultural form that is not necessarily marked by a national boundary. Of course, merengue will always reflect the folklore of the Dominican Republic, but times and traditions are changing. New York, for some musicians now the "home of merengue", is a unique location in this postmodern world of chaos where creative risks with musical genres, themes and compositions are permitted.
This "Caribbean" city is where Dominican identity and music are being influenced, redefined and reconfigured. Ironically, in New York City, far from the waters of the Caribbean, Dominicans can rediscover their authentic identity which is rooted in Africa, America, Europe, a Taino past, on other islands of the Caribbean and even in the United States.
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