Artists

The Callao Carnival A Burst of Gold, Rhythm, and Tradition

The Cultural Heartbeat of Bolívar State

In the mining heart of Venezuela, where gold dictates the pulse of the land, an annual celebration arises that transcends simple festivity: The Callao Carnival.

This is not merely a costume party; it is a living chronicle of resistance, cultural fusion, and joy that has echoed through Bolívar State for over a century. Declared a UNESCO Intangible Cultural Heritage of Humanity in 2016, this festival is the result of a fascinating blend of West Indian, African, and European cultures.

El Carnaval de El Callao de Venezuela, Patrimonio Inmaterial de la Humanidad

A Journey to the Roots: The Origins of Calypso

The history of this carnival is intrinsically linked to the 19th-century gold rush. Immigrants from the British and French West Indies (Trinidad, Grenada, Saint Lucia) brought with them their languages (patois), their cuisine, and, above all, their music: calypso.

Unlike Trinidadian calypso, Callao Calypso developed its own distinct identity. It is sung in both English and Spanish, accompanied by the bumbac drum, the rallo (metal scraper), the bell, and the Venezuelan cuatro, creating a contagious rhythm that narrates the hardships and hopes of the miners of that era.

Iconic Characters: Guardians of Heritage

El Carnaval del Callao. Un Estallido de Oro, Ritmo y Tradición

What makes the Callao Carnival unique is its colorful and unchanging hierarchy of characters, each carrying deep significance:

The Madamas: They are the central figures and pillars of the tradition. They represent the matriarchs of the West Indies, dressed in regal, brightly colored gowns, headscarves (turbans), and abundant jewelry. The figure of Isidora Agnes, the legendary “Negra Isidora,” is remembered as the great defender of this culture.
The Dancing Devils: Dressed in red and black, they wear impressive masks with multiple horns. Their original role was to clear the path for the parade and maintain order with their whips, symbolizing the protection of the festivities.
The Mediopintas: Characters who roam the streets smeared in a mixture of charcoal and molasses. With humor, they threaten to “paint” passersby unless they are given a coin (a medio).
The Miners: Clad in helmets and carrying tools, they pay homage to the region’s primary economic activity and the workers who founded the town.

More Than a Party: An Identity

The Callao Carnival is a prime example of cultural resilience. During the festivities, social barriers dissolve under the sound of the bumbac. Families prepare all year to sew costumes and rehearse songs, passing this legacy from generation to generation.

Visiting El Callao during this time is to immerse oneself in a whirlwind of energy, history, and hospitality, where every parade tells a story and every beat celebrates freedom.

Isidora Agnes: The Eternal Queen Who Turned Calypso into World Heritage.

To speak of Isidora Agnes, universally known as “La Negra Isidora,” is not just to remember a figure from the past; it is to invoke the very soul of the El Callao Carnival. She was the vital force who rescued, protected, and championed this tradition until it reached its current status as a UNESCO World Heritage treasure.

Isidora Agnes La Reina del Calipso de El Calla

A Leader Forged in El Callao

Born on August 17, 1923, Isidora was much more than a festive figure. With a firm character and clear convictions, she stood out as a social leader and labor unionist. Her role as the town’s first telephone operator was no coincidence; this position allowed her to be the town’s communication hub, hearing firsthand the needs and struggles of her people.

With deep West Indian roots (the daughter of immigrants from Saint Lucia and Martinique), Isidora grew up with calypso in her blood, leading her to fiercely defend her identity at a time when the tradition was beginning to fade.

Rescuing a Fading Tradition

In the mid-20th century, the El Callao Carnival was facing an identity crisis and losing ground to outside influences. Determined not to let her heritage die, Isidora launched a cultural crusade:

Institutionalization: In 1954, she founded the “Friends of Calypso Association,” giving the festival a formal structure.
Discipline and Aesthetics: She organized the parades under strict standards of authenticity, demanding rigor in costume making and respect for traditional music.
National Exposure: She took calypso beyond the borders of Bolívar State. Thanks to her, Caracas and the rest of Venezuela discovered the thundering bumbac and the patois choruses.

The “Madama” Par Excellence

While the carnival features many “Madamas,” Isidora became the ultimate icon. She didn’t just wear the dress; she personified the elegance, respect, and stately joy of the figure. Her presence in the streets dictated the rhythm of the entire festival.

Beyond the Dance: Her Social Legacy

“La Negra” Isidora’s commitment didn’t end when the drums were put away. She was a tireless advocate for El Callao. It is said she never hesitated to travel to the Miraflores Palace to demand improvements from the nation’s presidents, achieving milestones such as the installation of the sewage system and the construction of the local hospital.

Facts That Immortalize Her Legend

The Carnival Anthem: The famous song “Isidora, Isidora, Isidora Callao Calipso Queen,” composed by her close friend Lulú Basanta, is considered the unofficial anthem of the festivities today.
A Poetic Farewell: She passed away on March 5, 1986. Ironically, it was Ash Wednesday—the day the carnival ends. She was laid to rest with state honors and, as per her final wish, to the rhythm of calypso.
A Date of Honor: In commemoration of her birth, every August 17th is celebrated as Municipal Calypso Day in El Callao.

Also Read: Samba el baile que despierta el Carnaval en Brasil

Ricardo Vega and Karen Forcano

Latin America / Argentina /

Ricardo Vega and Karen Forcano. Salsa dancers and instructors of Latin dances.

Karen Forcano is originally from Argentina and took her first steps into the dance world at an early age, largely due to the influence of her mother, who was a ballet dancer. At 6 years of age, she began with ballet lessons and then at age 7 she was introduced to the exciting world of salsa and merengue, which would now be known as the start of her professional career.

Ricardo Vega is from Chile and began dancing ballet when he was only 7 years old. Although much of his influence came from his grandparents, who were tango dancers, Ricardo’s experience in dance included the styles of ballet, contemporary, jazz, as well as many others.

Karen and Ricardo met when they were 9 years old but their start in the professional/competitive world of salsa began in 2009. Since that time, they have been conquering championships as a couple, both on and off the dance floor.

Jorge Duran

Europe / Germany

Interview to Jorge Duran & his Jalea de Mambo

Now settled in Europe, venezuelan vibraphonist Jorge Duran is leading Jalea de Mambo band which mix musicians from different nationalities recovering the swing and mambo of the 50s with the smart flavor of the New York Palladium, the famous Broadway dance-hall, and the color of the best Latin Jazz that can be heard in Europe right now. Its characteristic vibraphone sound makes this band a unique and raw example in the current music panorama.

Recently documentary “We Like It Like That” has been released worldwide http://latinboogaloo.com/ emphasizing that cultural revolution where boogaloo, mambo, among other genres, were considered the so-called “Latin Soul” creating that cultural movement which day by day takes more strength everywhere.

1) Jorge, tell us a little bit about your background, your roots, and your musical influences.

Well, I started playing Latin American percussion in Venezuela (Caracas) having the chance to share with great musicians beside studying with amazing percussion players but my degree was focus in composition. Then I begun to play jazz vibraphone and it took me a few years to play again Latin American Music although here I am ready to give my very best.

2) How did you come to the idea of Jalea de Mambo?

The idea of Jalea de Mambo came to me long time ago (10 years ago or more) when I first heard the album Cal Tjader Modern Mambo Quintet, quite old album indeed (1955). That record change everything for me and blew my mind up focus then on mambo, latin jazz and what so called “Latin Soul”.

3) Mambo, Boogaloo, what many people called “Latin Soul” was a revolution during the 50s. Do you think that nowadays these genres could reach something similar?

I really think everything is possible if you work hard, I’m not trying to make a revolution my idea is that every single person come to see us playing, enjoying magic music, having a great time. Obviously that “revolution” happened once but its essence has come along the years in all musicians who play caribbean rhythms. Nowadays, this genre is getting popular again but honestly I believe it has never lost validation.

Photo of Jorge Durán and his band members in the music world

4) What are your feelings coming from Venezuela performing in Europe and worldwide? Is the musical movement opened and active enough over there?

My feeling is that in Europe we, musicians, have more opportunities to show our culture and most of the people here are opened enough to hear or see our projects.

Beyond Europe is quite the same because I have Heard about concerts with more tan 100.000 audiences in Arab Countries, for instance. It simply means that latin and caribbean music “hook” people hearts so they enjoy it full.

5) Now that you are settled in Europe tell us a bit more about your projects and expectations.

I’m living in Germany now and it is a huge challenge for me as it is a real different culture and language but my idea is to spread the Latin American culture and music not only in Europe but worldwide. We are living very tough moments at this very moment and firmly believe that músic and culture are more needed than ever because music tame the beasts, as people usually say, and that’s what we need now, I mean, peace, calm and mainly love.

Photo of Jorge Durán and his team at the live concert

6) Looking for these goals, are you working on your own or you are supported by a company, agency or similar.

Now I have the great pleasure to say that I’m not alone in this business because Cat 7 Production is my new family and they are really focused in spreading my music to reach more people. I think this is the idea, music is a language we need to be heard as I said before.

7) Finally Jorge, let’s share a message for all your fans beside colleagues who work hard to achieve similar goals you are looking for.

Well, I’m always very grateful when some one takes time to send emails or messages after watching us in a concert, I love it and love fans who give me strenght to keep doing what my heart says. My humbly advice to all musicians who have an idea or project is that never stop making music because everything is possible in life and the real power is inside us. This is one of more beautiful and hard profession but sure worth it!

Leader of K’ndela Salsa Band Eric Cabanilla and all his entertainment company has to offer

We are very pleased to be able to talk to the leader of K’ndela Salsa Band, a salsa group which has been gaining ground in New Jersey despite the great competition it faces.

Eric Cabanilla is a talented musician who, in addition to founding a successful band, has also managed to build an entertainment company with a solid team that has put its talents at the service of large audiences eager to enjoy a quality show. The artist has told us some of the most important details of his career, and we bring them here for all of you.

Eric Cabanilla posing for the amera — Leader of K’ndela Salsa Band Eric Cabanilla posing for the camera at an event

How Eric started to like music

Eric started his story saying that he and his siblings listened to the music their mother played as she cleaned the house and her children helped her with household duties. Back then, there were many romantic artists and groups such as Los Iracundos and La Sonora Matancera. These melodies helped him understand his love for salsa today.

One important thing to mention is that there were no musicians in his family to teach him about the professional part of this craft, so it can be said that he was the first to make this his way of life till today. His first impulse in this regard was to start writing poems at school, and he even won some poetry contests, which awoke in him the taste for putting words together to create pleasant sounds for others.

It was his great friend and musician Mike Pérez who encouraged him to put these compositions to songs, so he took those poems and rhymes he had created and added music to them. He worked alongside Mike for about seven years singing backup for the Orquesta Swing Combo until his sudden passing, which led to the dissolution of the group. Fortunately, the musicians were not left unprotected and could get a job in a new orchestra with new sound.

During this time, he had the opportunity to learn a lot about how the music biz works, as his responsibilities included institutionalizing the orchestra and formalizing its schedule through emails, business cards, written contracts, and that sort of thing.

Angel Peguero, Eric Cabanilla, and Stephany Moore — Dancer Angel Peguero, Eric Cabanilla, and dancer Stephany Moore

Thanks to all this acquired knowledge, once Swing Combo broke up, Eric already had an accurate idea of what to do when creating his own orchestra and how to manage it, so he jumped into action from there.

K’ndela Salsa Band

After all the experience he had gained, Eric finally decided to build something of his own, as he felt ready to take on such a challenge.

One of the first people he counted on was maestro Jimmy Bosch, “El Trombón Criollo,” who has a 50-year career and his own orchestra, Salsa Masters. He is always traveling the world with his orchestra, but whenever he is required to play with Eric and K’ndela Salsa Band, he makes an appearance without hesitation. He describes Bosch as a very professional man, to the point that he is the first to arrive and the last to leave at any rehearsal.

Together with Eric and Bosch, K’ndela also leverages the talent of other great musicians like bassist Edgar “Danny” Rosado, pianist Ray “El Loco” Cabrera, Xabi “El Chamo” Estrada, Eric Pizza, Brian ‘Tibiri’ Pozo, Jimmy “El Nene” Feliciano, and Daniel “El Gato” Arboleda.

This orchestra project was his first professional goal, but once he made it, he did not want to be confined to that. He also wanted to offer a complete package that offers more comprehensive entertainment than just playing and singing. That is when he took advantage of their closeness to a dance school where he sometimes performed to be in touch with dancers who wanted to join their shows.

Eric and the rest of the band — From left to right Ray “El Loco” Cabrera, Danny Rosado, Eric Cabanilla, Xavi “El Chamo” Estrada, Erik Piza, Brian “Tibiri” Pozo, Jimmy “El Nene” Feliciano, Daniel “El Gato” Arboleda and Jimmy “El Trombón Criollo” Bosch

Additionally, he hired a relative who worked as a mariachi, who in turn introduced him to other artists who did the same thing so he could hire them. Over time, he also included DJs who would liven up all kinds of events with their diverse mixes.

Something Eric wanted to clear up is that all these professionals are permanent workers in his company. He has a very good relationship with many dance schools in New Jersey, to which he offers his packages, and there is always a very generous group of its dancers that accepts the proposal. Whenever Eric is involved in a festival or private event, he never has any problem finding talent in the field of dance to accompany him thanks to his reliability, professionalism, and great respect for the work of others.

Read also: The Cajón throughout history

Musician and entrepreneur of Latin origin Jorge Torres talks about his band and his company

American multi-instrumentalist and entrepreneur of Puerto Rican descent Jorge Torres had a conversation recently with us about his musical origins, his company Jimmy Jorge Entertainment, his band, and his work with music today. In International Salsa Magazine, we are more than happy to interview him and learn what he has to tell us.

Jorge Torres and his conga — Musician and entrepreneur Jorge Torres next to his conga

Jorge’s beginnings in music in his native Chicago

Jorge said that when he was very young, his mother got a large stereo system that included a record player and radio where she listened to all kinds of music. His brother had a copy album “Che Che Cole” by Willie Colon and a cowbell he used to play constantly, making it the first instrument he heard in his childhood.

In the fifth grade in Philadelphia, he became interested in learning to play the guitar, but at that time his school did not offer guitar programs, but violin. So he decided to try the violin, but only played it during that year. In the eighth grade, he returned to Chicago to live with his father following the death of his mother, and his interest turned to steel drums, which he also referred to as Caribbean drums.

He spent another year playing this instrument until he reached high school and moved back to Philadelphia to live with his brother, which is when he changed his mind again and started loving the trumpet and the conga. He was so passionate about the latter that he bought his own conga, which he still has to this day. Then, other musician friends taught him how to play it, and the rest is history.

Early professional career

His learning to play the conga was the beginning of his life as a professional musician, and he played for various groups such as La Orquesta Cupey, Orquesta La Precaución, and Orquesta La Opinión, among others. During this time, Jorge learned to play many other instruments such as bongos and timbales. His teacher was Mikie Rivera, renowned Puerto Rican singer-songwriter and trova and jazz guitarist, who met with the young man and other musicians in the cellar of a friend’s house to mentor them and work with them.

These meetings aroused in him the idea of creating his own band in the future because of all that Rivera taught him about the music biz, and he wanted to put that knowledge into practice as soon as possible.

Jimmy Jorge and The Latin Jazz Expenses

Jorge’s band started as a small jazz group, but he did not want to settle for that. At some point, he was interested in having an orchestra with four wind instruments, three singers, piano, bass, bongos, timbales, and congas. That is how Jimmy Jorge and The Latin Jazz Express project arose.

This project started as a six-member Latin jazz band in 1995, but has managed to grow to the point that it has about 12 members and plays many other musical genres, although salsa is still very present in its repertoire.

Jorge Torres and the band — Jorge Torres and the rest of Jimmy Jorge and The Latin Express

Through hard work, Jimmy Jorge and The Latin Jazz Express have managed to position itself in the industry until they became the house band on the radio station called “La Mega 1310 AM” for some time and have played at all kinds of events such as The Puerto Rican Parade, La Feria del Barrio, Penn’s Landing’s Hispanic Fest, among others.

Some of the current members of the band are Peruvian singer Joseito Rivera, Puerto Rican singer Lia Montalvo, Dominican singer Hugo Tavares, conguero Edwin “Papo Buda,” percussionist Orlando Santana, and trombonist Edgar Salias.

Jimmy Jorge Entertainment

When Jorge began performing with American orchestras, he noticed that some of them, in addition to their musicians, also had dancers and DJs who were part of the orchestra and the show. The inclusion of these professionals in concerts seemed like a phenomenal idea to him and wanted to put it into practice for his own project, so he took advantage of the contact he had made with singers, DJs, photographers, dancers, and dance teachers to recruit them for his own shows in the future.

So, he began asking for phone numbers in order to build a network of artists he could count on in case he needed their services. Today, he has a large catalog of options for every type of show, making Jimmy Jorge Entertainment one of the most important Latin entertainment companies in Philadelphia today.