Europe

Isabelle and Felicien. The rhythm of love

Europa / Francia / Ivry-sur-Seine

This love story proves how Latin music can reunite people around the world! Isabelle and Felicien fell in love with dance many years ago…

Isabelle has been dancing since she was six, from African dances to Gwo Ka, through Dancehall and Hip Hop. More recently, she was introduced to salsa.

Felicien discovered couple dancing when he was 11 years old, starting with ballroom & swing dancing, then Latin styles, west coast swing and Argentine tango, a few years later.

The discovery of Kizomba brought them together! They combined their musicality, their techniques and creativity to become one. They stand out because of their authenticity and their innovation, combining the basics of this Angolan dance and their own influences.

With the passion of Kizomba, they started a dance course for all the Latin music lovers in France. Here you have Kizomba the schedule.

Wednesday evening:

7:30 pm – 10:30 pm, 2 levels: Beginners and inter/Advanced.

NOVICE courses (1:30) is for newcomers, people who have never danced (kizomba or any other dance), or are just starting and want to learn and master the basics and fundamentals of Kizomba.

This level will function with sessions (3 months), during which we will see all the basics, the steps, the leading and the connection that you will need to move on the dancefloor.

Sessions begin in September, December, March, and June (call us to find out how to join us during the session).

Dates of new sessions:

Wednesday 7th September 2016
Wednesday 7th December2016
Wednesday 1st March 2017
Wednesday 7th June 2017 (short session)

INTERMEDIATE/ADVANCED courses (1:30) is for dancers who already have the basics of this dance, knowing evolve on the dancefloor without too much difficulty and already practicing in parties.

The level will be higher, of course, with more advanced movements, work on the musicality and rhythm changes, a closer connection, more precise, and we do not repeat the explanations of bases you have had during beginners course.

The intermediate course will be continuous throughout the year, you can integrate it as soon as you have the level and keep continuously from September to July.

See their sexy dance moves https://www.youtube.com/watch?v=dm_TzKprOls

Schedule:

7:30 pm – 9:00 pm => Novice
9:00 pm – 10:30 pm => Inter/Advanced

Prices: (1:30 classes) Single entry => 14€

5 entries card => 55€
10 entries card => 110€
Year => 370€ (details on www.studiomrg.com)

Direction: 10, rue Jules Vanzuppe, 94200 Ivry (Porte de BERCY)

For more information: www.studiomrg.com

Percussion Design: Giovanni Hidalgo “Mañenguito” Revolution on the Congas

“A technical and historical analysis of the virtuosity, timbral hybridization, and legacy of one of the most influential percussionists in jazz and global Latin music.”

The Heir to “Mañengue”

Giovanni Hidalgo, born in San Juan, Puerto Rico, in 1963, is universally considered one of the most virtuous and innovative percussionists of all time.

Hidalgo uno de los percusionistas más influyentes del jazz

Affectionately known as “Mañenguito” because he is the son of legendary percussionist José “Mañengue” Hidalgo, he grew up in an environment where Afro-Caribbean rhythms were not only heard, but formed an everyday language.

Unlike many percussionists of his generation, Hidalgo’s training combined the rigor of empirical street-level learning with a methodical study of sight-reading (solfège) and formal technique.

From his early years, he displayed hand independence and speed that would redefine the global standard of conga (tumbadora) playing.

Technical Innovation: Rudiments Translated to the Conga

Giovanni Hidalgo’s major revolution within the percussion landscape lies in his adaptation of classic drum set rudiments to the congas.

Traditionally, conga execution relied on structured rhythmic patterns built around open tones, slaps, muted tones, and the heel-toe movement (marcha).

Hidalgo elevated this technique to an entirely new level:

Hand and Finger Independence: He developed finger and wrist speed capable of replicating five-stroke rolls, flams, paradiddles, and ruffs at blistering speeds on the drumheads.
Expanding the Set: He popularized the use of 4-, 5-, and up to 6-conga setups tuned melodically, transforming percussion into a harmonic and melodic instrument within the ensemble.
Multilimb Polyrhythm: The ability to maintain independent clave lines while improvising melodic solos of high mathematical complexity.

Musical Career and Key Collaborations:

Hidalgo combinó el rigor del aprendizaje empírico de la calle con un estudio metódico del solfeo y la técnica formal

“Mañenguito’s” career is defined by his ability to effortlessly transition between salsa dura, Latin jazz, Puerto Rican folk music, and world music.

Career Highlights:

Batacumbele: In the 1980s, alongside musicians like Ángel “Cuqui” Santos and Dave Valentín, Hidalgo was part of the legendary group Batacumbele. The band revolutionized Caribbean music by integrating elements of Cuban songo with bomba, plena, and jazz.
Dizzy Gillespie and the United Nation Orchestra: At age 25, he was recruited by bebop icon Dizzy Gillespie. This era catapulted him onto the international jazz stage, performing at the world’s most prestigious festivals.
Planet Drum: His collaboration with Mickey Hart (drummer for the Grateful Dead), Zakir Hussain, and other international percussion masters culminated in the Planet Drum project, which won the first-ever Grammy Award for Best World Music Album (1991).
Trio with Michel Camilo: His recordings and live performances alongside Dominican pianist Michel Camilo and bassist Anthony Jackson represent one of the pinnacles of contemporary Latin jazz due to the level of energy and technical precision executed.
Eddie Palmieri: The union of Giovanni Hidalgo and Eddie Palmieri stands as one of the most explosive and revolutionary partnerships in the history of Latin jazz and Afro-Caribbean music. When Hidalgo’s technical virtuosity and speed on the congas met Palmieri’s aggressive, dissonant, and orchestral piano style, the result forever transformed contemporary percussion.

The Clash of Two Worlds (Late ’80s)

In the mid-1980s, Eddie Palmieri already a living legend for his innovations with La Perfecta and his salsa dura and Latin jazz productions brought the young Puerto Rican Giovanni Hidalgo into his group.

The Impact: Hidalgo introduced a revolutionary language to the ensemble by adapting drumstick techniques to open-hand playing.
The Synergy: In Giovanni, Palmieri found a percussionist capable of matching the power, polyrhythmic complexity, and harmonic tension he delivered from the piano.
Highlights: The solidity of Giovanni’s conga work on tracks like “La Libertad / Comparsa” launched Hidalgo onto the international stage as the most influential conguero of his generation.
The Innovation: Giovanni Hidalgo led the rhythm section with solos that defied the physics of conga playing through sheer speed, subtle dynamics, and refined tuning adjustments.
Impact: Giovanni served as a generational bridge between the established masters of the Palladium era and the technical avant-garde of the new millennium.
Award: The album Listen Here! won the Grammy Award for Best Latin Jazz Album in 2006, crowning a golden era of collaborations.

In May 2010, Hidalgo was awarded an Honorary Doctorate of Music from Berklee College of Music and is widely considered one of the leading Latin percussionists in the world today.

Tito Puente (“The King of Timbales”) and Giovanni Hidalgo (“Mañenguito”) represent one of the most powerful intergenerational encounters in the history of Latin music. Puente adopted Giovanni not only as his principal conga player during several key periods, but also as a virtuoso soloist capable of matching his speed, precision, and stage presence.

Golden Latin Jazz Giants and International Projects, among others.

Fania and Latin Jazz Supergroups: Alongside Puente, Giovanni was part of various “All-Star” ensembles that toured the most important jazz festivals in Europe and Japan (such as the North Sea Jazz Festival and Montreux).

The Generational Bridge: Puente represented the golden age of the Palladium Ballroom in New York, while Giovanni contributed the technical avant-garde of the new millennium. This synergy kept Puente’s music relevant to new generations of percussion students.

Comparative Chart: Hidalgo’s Contributions to Percussion:

Technical Dimension	Traditional Execution (Pre-Hidalgo)	Giovanni Hidalgo’s Innovation
Finger/Hand Use	Based on wrist and hand weight	Individualized finger control for extreme articulation and speed
Setup Configuration	1 to 3 congas in a primary rhythmic pattern	4 to 6 congas tuned melodically in intervals
Rhythmic Vocabulary	Afro-Cuban claves and regional patterns	Integration of marching rudiments, bebop, and Indian polyrhythms

Conclusion and Resilience

Giovanni Hidalgo did not merely alter the physics of playing the conga he expanded the creative boundaries of the instrument itself.

Despite the health challenges he has faced over the years, including complications from diabetes that affected his hands, his dedication and technical adaptability have demonstrated the strength of his musical spirit.

Entrevista a Giovanni Hidalgo por Dj. Augusto Felibertt

His legacy extends far beyond his recordings: “Mañenguito” taught the world that the conga is not just an accompanying rhythmic instrument, but a solo voice with infinite melodic, dynamic, and expressive possibilities.

Also Read: Learn to Play Percussion with Giovanni “Mañenguito” Hidalgo

Añá The Divine Voice of the Batá Drums and Their Ancestral Heartbeat

In the vast universe of Afro-Cuban spirituality and Yoruba tradition, batá drums are not merely musical instruments: they are living, consecrated entities.

Tambores Añá La Voz Divina de los Batá y su Latido AncestralTambores Añá La Voz Divina de los Batá y su Latido Ancestral

The soul that resides within these sacred drums is known as Añá (or Aña), the deity (orisha) of divine sound and primordial vibration. To speak of the Añá drums is to enter a direct channel of communication between the earthly realm and the spiritual world.

Origin: The Secret Born in Yoruba Land

The presence of Añá dates back to the ancient Yoruba Empire (in present-day Nigeria and Benin). In Yoruba mythology, the deity Añá represents the divine voice and breath through which Olodumare (the Creator) ordered the cosmos.

To encapsulate this force, a sacramental trio of hourglass-shaped, hand-carved wooden drums was structured:

Iyá: The mother drum, lowest in pitch, responsible for leading the liturgy and performing improvisations.

Itótele: The medium drum, which engages in a direct dialogue with the Iyá.

Okónkolo: The smallest drum, responsible for holding down the rhythmic foundation.

Consecrating a set of batá drums with the fundamento (sacred core) of Añá requires strict liturgical rites involving sacred botany (omiero), prayers, and offerings so that the deity takes permanent residence within the wood. Only sworn priests, known as Omo Añá or Oluwos Batá, are authorized to play these sacred instruments.

Evolution: The Transatlantic Journey and the Cuban Flourishing

Through the transatlantic slave trade during the colonial era, Yoruba scholars arrived in the Caribbean primarily in Cuba under the Lucumí designation. Despite the oppressive conditions, practitioners fiercely preserved the secret of Añá.

Toward the second half of the 19th century, in the town of Guanabacoa (Havana), the first set of Añá drums consecrated on American soil was consecrated and baptized. In this new sociocultural environment, the ancestral rhythms remained intact within the liturgy of Regla de Ocha (Santería).

The drumming patterns evolved into a complex system of tonal languages where the drum does not merely accompany, but speaks to and summons each orisha through specific rhythmic phrasing.

Significance: A Tonal Language Between Humanity and Orishas

The importance of the Añá drums lies in their mystical function: they serve as the sacred bridge that harmonizes the Ori (an individual’s head and destiny) with the deities and ancestors.

In Lucumí cosmogony, Añá’s vibration possesses the power to alter the state of consciousness of the initiated, facilitating spiritual trance or possession through which the deity descends to earth.

“Añá does not play to entertain the human ear, but to summon the spirit and maintain cosmic balance through sound.”

Furthermore, on a musical level, it represents one of the most complex rhythmic legacies on the planet. Its polyrhythmic technique has had an immeasurable influence on the development of Afro-Cuban music, Latin jazz, and salsa.

Present Day: Preservation of Faith and Global Expansion

Today, the Añá tradition experiences a dual phenomenon: the rigorous preservation of its rituals and a remarkable global expansion.

Although the secrets required to consecrate a legitimate Añá remain closely guarded under strict priestly discretion, Santería worship and admiration for batá percussion have transcended the borders of Cuba and Nigeria.

Today, there are consecrated Añá drum sets established by babalawos and Omo Añá in countries such as the United States, Venezuela, Mexico, Spain, and Puerto Rico.

Los Tamborea Bata son entidades vivas y consagradas

While non-sacred batá drums (known as aberikuló, which do not carry the secret of Añá) are used freely on secular stages, true Añá drums remain reserved exclusively for private ceremonies, keeping alive the voice of an ancient deity.

To visually understand how the drum’s sound articulates the liturgical call within the tradition, check out the resource “The Function of Añá Within Batá Drums.”

Also Read: Pancho Quinto Is Considered One of Cuba’s Great Rumberos

International Salsa Magazine Recommends:

Añá Loógúnsi Fundamento Drum

First Huelva Salsa Festival

Europe / Spain /

First Huelva Salsa Festival. Afro-Cuban rhythms make their debut in Huelva’s nightlife

First Huelva Salsa Festival - Photo 1 — First Huelva Salsa Festival – Photo 1

By Javier Corrales García: Salsa is synonymous with joy and delight; it is a collection of sensations evoked by the drum. Salsa is beauty; it is youth within experience—like the wood of an old tree with buds constantly sprouting. Salsa is a world unto itself; Salsa is a syncopated beat in the heart.

Last August, in a corner of southern Spain, a stage was set up facing a monument sculpted by Miss Whitney—a monument representing the spirit of discovery, specifically the European discovery of the wondrous lands of the Americas. This location in southern Spain is none other than the very spot from which Christopher Columbus and his crew set sail 525 years ago in search of new routes, only to stumble upon unknown lands—the port of Palos de la Frontera.

In the wake of that “accident” came a series of events, tragedies, and invasions, but also *transculturation*—a term coined by Fernando Ortiz to define the complex process of reciprocal communication between cultures. These mutual influences blended various cultures into one—rich like few others, and musically unparalleled.

August was the month when those three ships set sail, and August was also the month chosen to celebrate a magnificent festival featuring the music born of that transculturation: the First Huelva Salsa Festival. Seven orchestras showcased diverse styles—ranging from traditional *son*, *nengón*, and *changüí* to repertoires featuring sophisticated jazz arrangements that were both elegant and powerful, as well as the sounds of the genre known as salsa that dominated the Latin music scene in New York City during the 1960s and 70s.

concert - collash 1 — concert – collash 1

Sessions by DJ Corr and Wally DJ before and after each concert.

Salsa Festival

A look at the festival’s orchestras:

SON DE CUBA

A group of Cuban musicians led by *tres* player Leo Cabezas, featuring traditional *son* music as the main attraction. They opened the concert lineup on the first day in a stunning setting—the only concert held in Punta Umbría right on the beach sand—amidst the fabulous atmosphere typical of “El Mosquito” (a bohemian beach bar that champions live music and boasts what are likely the best sunsets in the province of Huelva).

In addition to the opening performance, they played the closing concert on the final day, inviting musicians from Troveros de Asieta to join them on stage.

Troveros de Asieta invitando a Proyecto Mambo

LA CANDELA

Gilberto Miguel Calderón Cardona—known first as Sonny and later as Joe Cuba—would be proud of the legacy evident in the excellent work of La Candela. This young group has achieved a sound that stays true to the cadence and flavor of the famous “Big Apple” sextet—a feat that is notoriously difficult to pull off.

Dancers worldwide were fans of Joe Cuba, and La Candela—his worthy successors—are now gathering their own following within the dance community. They perform fantastic covers of Joe Cuba songs alongside original tracks packed with danceable flavor. This magnificent group from the Canary Islands comes highly recommended for music lovers, dancers, radio broadcasters, and—above all—organizers of dance congresses around the globe.

SEPTETO NABORI

After listening to their album *20 Años*, one could easily predict that their live show would be powerful; indeed, after the concert ended, they were the talk of the audience. It was a marvel to see these Cubans—long based in Italy—delivering the true flavor of *son* and giving it their all on stage.

Tracks from their album, such as “Ni pa ti ni pa mi” and “Santiago si la lleva,” lifted spirits during a magical night of salsa, *son*, *guaracha*, and mambo.

Cinta Lopa at the percussion workshop, with Santiago Reyther behind her.

Their two *soneros*—Iván Antonio Rodríguez and Yoelis—were fascinating, possessing the distinctive voices of seasoned, old-school *son* singers. Luis Alberto Danger was sublime throughout the entire show.

Bandleader Alejandro Morcate kept the musical machinery running on guitar; bassist Raúl Cardoso added flavor with his syncopated swing; Monchi laid down the grooves on the *tres*; and Yoandy Armenteros and Jose Alberto Ávila handled the percussion, providing the rhythm and spice. A marvelous septet that captivated everyone present.

Ivan Antonio Rodriguez and Yoelis soneros from Septeto Nabori

SONORA LIBRE

Mauricio Ochoa was missing—not because the replacement conga player lacked quality, but because Ochoa is the mastermind behind this superb work and deserved to witness the audience’s appreciation firsthand.

Sonora Libre ensured everyone had a fantastic time, serving as the perfect finale for the festival’s Friday night. Sebastián Cabra handled musical direction, showcasing magnificent arrangements—track after track—that infused the horn section with a strong jazz essence without losing an ounce of swing or flavor.

With lyrics ranging from upbeat *guarachas* to thought-provoking verses, and salsa played at full intensity, kudos to this stylish group based in Barcelona.

They wrapped up the night by mingling with the guys from Septeto Nabori—a *sonero* face-off filled with great vibes.

JÓVENES CLÁSICOS DEL SON

Led by bassist Ernesto Reyes Proenza, this Cuban group—with over 20 years of history—won awards right from the start. With “El Nene” on vocals, they achieved success that established them as a benchmark in reviving the importance of *son*—the quintessential Cuban popular genre.

Jóvenes Clásicos having a great time on stage

During the concert, *sonero* José Antonio Rodríguez (“Pepitin”) kept the audience constantly engaged, making them dance non-stop to one song after another. They played with *son*, *changüí*, and even *nengón*—traditional tracks from their new album, *El Bar de Paco*, which is highly recommended for lovers of majestic *son*.

César Hechavarría delighted the crowd time and again with his mastery of the *tres* guitar, delivering rich improvisational solos that we wished would never end. José Manuel Rodríguez Arias radiated joy, dancing while playing the cowbell with great flair and rhythm.

ORQUESTA DEL SOLAR

The guys from Orquesta del Solar threw a fantastic *rumba* party—pure, authentic salsa. They mixed original songs with tasty classics like “Fulanito Malanga,” “Conciencia y Guaguancó,” and “Abran Paso,” as well as a crowd favorite among the night’s dancers: “Ahora Sí.”

Our sincerest congratulations go to Julio Mena for leading this superb orchestra for so many years as a national and international salsa reference point. They hold the prestige of having accompanied legends like Meñique, Jimmy Bosch, Cheo Feliciano, and Adalberto Santiago—a sheer delight for dancers!

The orchestra is highly appreciated by dancers and is a regular fixture at congresses and events catering to the dance community.

TROVEROS DE ASIETA

We wrap up our musical review of this fantastic event with the *son*-loving Canary Islanders. Returning to Huelva for the second consecutive year, they showcased their tight, cohesive quality—delivering an elegant, powerful *son* sound. Their exciting repertoire featured the *conjunto* style, including tracks like Arsenio Rodríguez’s “Mulence”—a song with quintessential *rumba* lyrics. A treat for both the ears and the feet—and on a personal level, they are humble, down-to-earth, friendly, and charming. The perfect finale to this magnificent festival!

ADDITIONAL ACTIVITIES – FIRST HUELVA SALSA FESTIVAL

The concert series was complemented by dance, percussion, and history workshops, offering a wide range of activities designed to bring the worlds of music and dance closer to the audience.

Percussion workshop offered by Santiago Reyther and Lázaro Chino Acebal.

In short, a delightful festival offered free of charge thanks to the Huelva Provincial Council and organized by Música Fundamental, under the leadership of Carlos Ferrer. We are eagerly looking forward to the second HSF!

Audience attending the Sonora Libre concert

After the "Proyecto Mambo: From Changüí to Mambo" workshop in New York. — After the “Proyecto Mambo: From Changüí to Mambo” workshop in New York.

5th International Kizomba Gala Hamburg

Europe / Germany / Hamburg

07.-10. October 2016

Back to the Roots

Love is the Message!

One of the best Kizomba events in Germany which offers participants a highly stimulating and immersive experience of dancing with first class international instructors, who will teach you the proper way of dancing Kizomba, Zouk and other African & Latin Dance. An intensive 3 days Workshop is proposed for this purpose, starting from 9pm to 07:00 pm which will end with a Party. The Party will be thrill with Shows and Animations from the international instructors.

Line-up:

Nelson Campos & Vanja Mula? (G Bissau / UK / Croatia) Donny (Cameroun / UK)
Vitor Taveres & Ivona Szantova (Cape Verd/ Slovakis / Prague)
Betrand & Celine (Cameroun. Swiss / France)
Cazuza & Maria Sieriche (Angola / Angola / Strassbourg)
Mams & Anthéa (Angola / Angola / Angola / France)
DJ Cubanito (Angola / Manchester)
DJ Lindt (Surinam / Rotherdam)
DJ Ben (Ghana /Hamburg)
DJ Zezom (Anglona / Copenhagen)
DJ Alberto Sa (Paris / Lisbon /G Bissau)

More information at:

http://www.kizombagala.com/
https://www.facebook.com/events/574349666052350/