Now that all the dancers are in their salsa, (as we say where I come from) we learn the basic steps of the paseo: The punteado, which means to signal with the tip of your left or right shoe: It’s funny, I recalled that lesson we had at class where we drew the connections between “cowboy dance” and vaqueros from Mexico.. when you learn vaquero style, first thing you are told is to do the punteado as well! When I was growing up in the little town where we would spend our summers, there was a farmer who was the local vaquero dance teacher. He would teach in our local parties at the square of our town, and mostly elder farmers would be really into it:  I am sure we could also find connections with the performing of the masculinity identities that we mentioned in class, and how one style has influenced another.

But going back to Beacon Hill, this time we were in a womxn-lead circle. And the punteado marked the strength of what we had described previously as the power of circle dance as a protective container: Instead of trying to prove anyone our virility, we were celebrating shared ancestral oral histories. One thing that really called my attention was the practice of giving a saludo to the drums, once in a while. I found it a very feminist practice, since in all my GWSS class, we have been told that a number one rule for the feminist framework is to acknowledge all those members of our communities who have contributed to the creation and spread of knowledge, who have made us who we are. So acknowledging a 400 year old instrument as part of this music practice is very important. I would like to learn more history on it, but since we know that these maestras are defying some traditional rules that would not allow womxn to be behind drums or perhaps leading these workshops, the salutation to the drum who for many generations wasn’t played by a womxn, is a beautiful healing practice (at least in my eyes!)

At around 2:30, the Afro-Latinx maestras started introducing us to the traditions of bomba (Puerto Rico) and son jarocho (Veracruz, Mexico).  We learned about their origins, and what areas of the US you could join communities that could start you on the path of practicing them: But most importantly, at around 2:45, people stepped out of their comfort zones, pulled the chairs against the walls, and started following the maestras as they moved into the realms of practice. We all know that music is an universal language, and this workshop couldn’t have exemplified it best. Children, elder, youth, adults, all turned in synchrony with our maestras, and starting first with our hands on our backs, we learned the basic steps, moving forward and backwards as we followed the rhythm of the drums. At some point we were able to release our hands from our backs, and started clapping. It personally reminded me a bit of some movements from south of Spain, where clapping is essential to mark the rhythm of the dance.

At first you see mostly adults and children more motivated to follow the maestras: I can see other live bloggers writing timidly on the edges of the space, and other UW students following the rhythm slowly, without entering fully into the experience. Our class professors seem to cheer us, as they are on the first line involving themselves completely. But music as an universal language like we commented, and as magical as it is draws you in, as if you were entering a cold lake: First your feet, then your stomach, and then all of you at once!

The artwork held some really powerful paintings, the ones that I saw invoked female power, and ethnic pride which were very inspiring to see. One of my favorite pieces was one that gave a quote of Michelle Obama on an outline of her. Michelle Obama is such an inspiration for me, and I felt a sense of joy seeing someone depict her in such a beautiful way. I also appreciate the fact that it was all local women, especially women of color who were selling the art work, I felt that properly represented what the event was for. They weren’t just selling beautiful pieces of artwork but also all natural products that were homemade. I appreciate any opportunity to support local artists versus big businesses.

The women playing Bombay was energetic and fun. The dancer engaged the audience in performing a dance while the drummers played an upbeat rhythm. Most of the audience that participated was to my surprise, the older members of the audience, the younger members did not participate as much as the adults, with that being said everyone who was dancing, was having fun and dancing with a smile on their face. The bomba dance is a very powerful form of art. Combining the different forms of art, such as music and dance, creates a merger of art, and becomes more alive. After the first break the lead dancer/speaker said “were dancing to the music, with the music, while making music” (speaker). In order to be cohesive dance and music must be in conversation with one another. The movements by the audience are reflective of the fun, upbeat conversation with the drums.

The panel is speaking about their experiences and how Bomba has influenced their lives. Each of these women are sharing pieces of themselves today, and that’s not an easy thing to do. Hearing their stories is deeply moving and they communicate how bomba is more than just a fun hobby. Music and dance create strength and confidence to move through the difficulties life presents.

It’s one thing to say we need to break down borders and welcome all people, but another to actually do it. Women of color sharing a space to speak and express themselves is a political action in this world. Coming together as a community to share joy and connect to their culture is taking action. Social change and human connection are what Bomba is bringing to El Centro today.

Group 8: Kira Smith

After the dance workshop many of the performers participated on a panel. Many of the performers talked about how their art, Bomba or Fandango, has influenced their life outside of practice. One of the panelist talk about her art creating a safe space for her to find her identity. Another panelist talked about how sometimes they perform themselves into “being”. The idea that as artists they sometimes get so caught up in their performance that it becomes who they are. One of my favorite moments of the panel was when the drummer from southern Puerto Rico talked about her experience being a woman. She talks about how Bomba is about the feeling of home and its origins of being played in, Casas, as oppose to being played on the street. As a women, she talks about how when she plays the drums, she wants her listeners to love what is being played as opposed to who is playing. She highlights that the drum doesn’t have a sex, so the expectations shouldn’t be applied to the artists playing the instruments. As I reflect on their answers, I realize that through music and art, our stories of our cultures and ancestors can be passed down through generations. I want to end this post with what one panelist said, “In order to explore or travel, you must travel home first. It is when she [her child] knows her Puerto Rican Culture, she can then travel the world”. As the world becomes more connected, it is important we stay grounded in our own cultures and histories. – Paolo Eleccion

Live Blog Post #1

One of the first thing I noticed when I entered was a lady wearing a beautiful red cultural skirt and going around the room with a bowl that seemed to have white sage burning and spreading it around and blessing it. After that there were a performance by Melia and Narice that were still working on and refining. The rhythm they continued to replicate was very addictive. It started getting a lot more powerful and emotional. Melia would start talking and raising her voice while having very distinct facial expressions that went with her voice. Even though I didn’t understand the language her tone of voice, volume and facial expressions really spoke out. The next event was the Bomba workshop, a participatory workshop that started off with reluctant participants at first who were shy. However things started to pick up pace as the event went further in. The rhythmic drumming and smiles on everyone around really pulled even more people in. The shouting, percussion and footsteps combined was echoing off the walls. It seemed as though ⅔ of the room occupants had joined in and with each dance step began to fully enjoy the people around them and the activity. One of the most memorable part of the workshop would have to be when they took fast paced steps back, pushing the people in the back to look for cover and move out of the way. The overall performance was so energetic, powerful and there was a sense of instant community in that moment. Seeing the same expression on everyone’s face around me was quite a relief from all the bad things happening in the world. A group of people who were mere strangers amount ago were acting together, unified through dance and song.

Live Blog Post #2

Another interesting thing I found while observing was that people from streets were getting interested as well. When I looked outside I can see passersby were wondering what all the sounds were about and so some of the them actually went in was smiling as they entered. Curiosity was shown throughout their face as they got closer to the dancers and percussionists. Seeing the same expression on everyone’s face around me was quite a relief from all the bad things happening in the world. A group of people who were mere strangers a moment ago were collectively uniting together through dance and song. It was very heartwarming to see people joining forces. Even though the start was a little rocky it turned out to be a big participatory event with a few onlookers by the side. As I was walking around I looked at the vendor’s displaying their work and it was amazing to see all the artwork and dedication these individuals have. Throughout the event one thing I really took away from this event was what Melia had talked about in the very beginning. About power and healing, this collective space was a way to get back indigenous treasures and culture that was stolen from them and proudly showing that to everyone. Decolonizing the space and realizing what land they’re standing on as Native American land and that we should pay respects to them and the land. Healing comes from reclaiming cultural traditions, language etc and today they showed how powerful women can be.

I loved the Jaracho and Afro-Puerto Rican bomba dancing workshop. I almost didn’t participate. But then the drums began. And everyone began to move. As the people moved I had to move with them.

I’m not a dancer. I never learned to move along with the rhythm of the music, and I never usually step out to dance and NEVER in public. Yet here I am at El Centro, packed in with strangers and having the time of my life.

There’s catharsis in movement. So often women are taught to give up their space, especially women of color. In this movement, in this dance, we take back that space and share it among each other. Thank you to all the women who led this workshop, who carried such passion and positivity in teaching us.

Group 8: Kira Smith

As we are introduced to the workshop, the lead speaker highlights the importance of the beats of the drums because it connects the dancers to the world. The speaker emphasizes the importance of not only dancing to the music, but dancing with the music as well. As the beats of the drums begin, claps begin to roar that mimic the beginnings of a slow thunder clap. The crowd begins to sway as the workshops begins. We are told that it is important to say hello before beginning the dance, to greet our ancestors and to pay respects to the 400-year-old tradition. As the crowd begins to move, the beats of the drums mimic and reflect their every move. Bomba is known as the oldest genre of music from Puerto Rico. When a drummer and the lead dancer switch places, we are introduced to the Spanish word, Paseo, meaning a leisurely walk or stroll. As the dance floor expands, the dance moves get bigger, and the energy picks up. In the third and final dance, the lead dancer brings out a shaker and a call and response begins. The crowd response with, “Hey Hey! Hey Ma Ma!”. – Paolo Eleccion