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Events

“El Caballero de la Salsa” Kicks Off “Íntimo” in Puerto Rico

With performances on February 14 and 15, 2026, at the Coliseo de Puerto Rico, Gilberto Santa Rosa started the year “at home” with two sold-out shows and the successful launch of his “Íntimo” tour. That is always the goal. On the island, the audience is as demanding as they are generous and the singer knows it. Following the concerts, “El Caballero” posted on social media: “Puerto Rico, thank you for giving us two nights full of love, dancing, and so much music at home! What a thrill it is to sing at home!”

“El Caballero de la Salsa” Kicks Off "Íntimo" in Puerto Rico
“El Caballero de la Salsa” Kicks Off “Íntimo” in Puerto Rico

On January 30 of this year, the album that shares the tour’s title was released. In Puerto Rico, two shows were scheduled for Valentine’s Day weekend. The first coincided with Valentine’s Saturday; the second was added for the following day due to how quickly the first round of tickets sold out.

At exactly 6:46 PM on Sunday, February 15, 2026, the stage of the Coliseo de Puerto Rico welcomed Gilberto Santa Rosa’s orchestra to begin the second concert, marking the salsa singer’s long-awaited reunion with the Puerto Rican public. According to a press release from Edumil Ruiz’s agency: “These performances are part of a series of special concerts celebrating the month of love (…) and represent the long-awaited reunion of ‘El Caballero de la Salsa’ with his Puerto Rican audience after two years since his last performance on the island.”

A Night of Rhythms and Ovations

The performance began with high energy and impact from the very first track. The opening bars were seasoned with the sounds of the Puerto Rican cuatro, played by Fabiola Muñoz. “Déjate querer” featured a timbal solo by Pete Perignon, while “Cartas sobre la mesa” highlighted Saviel Cartagena’s saxophone. These were followed by “Ahora o nunca,” “Tú,” “Amor para la historia,” “Quiéreme,” and “Almas gemelas,” which featured Juan Carlos Vega on an aerophone solo; followed by “Yo no te pido” and “Conciencia,” for which the audience gave the artist a thunderous standing ovation.

Between songs, Santa Rosa took a moment to address the crowd: “I was born, raised, and live here. And it moves me to know that here in Puerto Rico, I am still dearly loved.” He added that he is a fan of singing to the brokenhearted with “scorned” lyrics set to savory, danceable arrangements. Addressing the contradiction of that combination, he stated, “We Puerto Ricans are capable of crying and dancing at the same time,” capping the explanation with: “That’s just how passionate we are.”

152 With the performances on February 14 and 15, 2026 at the Coliseo de Puerto Rico, Gilberto Santa Rosa began the year in "his home" with two sold-out shows.

152
With the performances on February 14 and 15, 2026 at the Coliseo de Puerto Rico, Gilberto Santa Rosa began the year in “his home” with two sold-out shows.

After his remarks, “Gilbertito” explained he would welcome a beloved artist to sing “Misterio,” an urban salsa track with lyrics “about a relationship where you don’t know if it’s coming or going, starting or ending.” Gerardo Rivas took the lead in his solo role, which required Pete Perignon to fill in on the congas while Pedro Marcano took over the timbales.

Tributes and Special Guests

Later, Gilberto Santa Rosa dedicated a segment of the concert to a legend Puerto Rico bid farewell to last December. He stated that Rafael Ithier was a musical genius whom he considered a mentor and a father in music, dedicating the iconic “Las hojas blancas” to him. Notably, the production featured a team of sign language interpreters who translated the entire concert in real time.

The repertoire also included “Vino tinto,” “Cosas nuevas” highlighting Pedro Marcano on the flugelhorn and “No me dejes solo,” which kicked off with a mozambique rhythm and rumba clave on the drums, courtesy of Gerardo Rivas and Tito Echevarría. The most anticipated moment arrived when Santa Rosa asked the crowd to join him in a chorus that allowed “El Caballero” to pay his respects to special guests. The “Choliseo” vibrated as the crowd chanted: “Mira quien llegó / Quién está ahí / Qué bueno que te vino a ver” (Look who arrived / Who is there / How good they came to see you). The tenacious sonero greeted the following guests in perfect rhyme and with his trademark elegance: Don Perignon, Luisito Ayala, Luis Vázquez, Juan José Hernández, Elwood Cruz, Marilin Pupo, Cucco Peña, Lissette Álvarez, Willie Chirino, his wife Alexandra Malagón (whom he called “The owner of my heart”), and Ismael Miranda, among others.

The evening continued with “No pensé enamorarme otra vez” and “Para vivir,” for which he was joined by Yeika Álvarez and “a representation of the Arturo Somohano Philharmonic Orchestra of Puerto Rico.”

Gerardo Rivas (Hijo de Jerry Rivas el reemplaso de Jimmie Morales), Gilberto Santa Rosa y Pete Pergnon
Gerardo Rivas (Hijo de Jerry Rivas el reemplaso de Jimmie Morales), Gilberto Santa Rosa y Pete Pergnon

A Monument to Nostalgia

“Tengo una muñeca,” followed by a fusion that progressed from boogaloo to cha-cha-cha and finally to salsa with Gilberto showcasing his skill on the maracas led us into a monument of nostalgia. The memory of the conga player Santa Rosa had worked with since their days in Willie Rosario’s orchestra until his passing in 2021 was honored with “Impaciencia.” The song showcased the Jimmie Morales Signature Series drums by Remo Percussion©, which sponsored “El Rey del Seco” (The King of the Dry Hit) from 2005 to 2016.

During this segment, “El Caballero” displayed his own skills as a talented conguero while singing, accompanied by Gerardo Rivas (the orchestra’s conga player) and Pete Perignon (the timbalero) on either side. While the audience was spellbound by the sight of the three musicians at their drums, this writer wondered if Gilberto was reminiscing about the days when he used to imagine he was a singer, using an upside-down trash can as a drum in the group led by Don Perignon.

The “Army of One”

This intervention was followed by “La agarro bajando,” which preceded the introduction of the band members, “musically directed by the master of the trombone,” Georgie Torres. The lineup included:

  • Backing vocals: Yeika Alvarez and Gino Ramírez.
  • Puerto Rican Cuatro: Fabiola “The one who holds her own” Muñoz.
  • Trumpet: Rebecca Zambrana (with the orchestra for 29 years) and Pedro Marcano.
  • Trombone: Anthony Rosado (also a ballroom dance champion).
  • Saxophone/Flute: Francisco “Paquito” Cruz and Saviel Cartagena.
  • Piano: Luis Marín.
  • Congas: Gerardo Rivas.
  • Timbales: Pete Perignon Morales.
  • Bongos: Rafael “Tito” Echevarría.
  • Bass: The legend Johnny Torres.
  • Keyboard/Aerophone: Dr. Juan Carlos Vega.
  • Vocals: Michael Pérez.

Santa Rosa also praised the technical and audiovisual teams, producer Rafo Muñiz, and Edumil Ruiz, noting that “all these people make this work.”

After identifying his team who gave a masterclass in what the military calls an “Army of One” the hits “Conteo regresivo,” “Perdóname,” “Que alguien me diga,” and “Que manera de quererte” rang out. Gilberto Santa Rosa celebrated Valentine’s weekend by once again proving why he holds the loyalty and preference of his Puerto Rican fanbase.

From the start, the energy never wavered. The crowd sang and danced along with the artist, the musicians, and the dancers on stage. The vast repertoire serves as a reminder of the countless hits “El Caballero de la Salsa” has collected throughout his prolific career.

Bella Martinez Puerto Rico

 

 

 

Also Read: Bandleader and conga player Tony Rosa tells us how he built his career

The Jazz Connect Conference

North America / USA  / New York
The Jazz Connect Conference
The Jazz Connect Conference

The Jazz Connect Conference organized by JazzTimes and the Jazz Forward Coalition, will be held January 5-6, 2017 at Saint Peter’s Church (at 54th & Lexington) in New York City and will lead into the annual APAP (Association of Performing Arts Presenters) Conference as well as Winter Jazzfest.

Continuing the momentum from the January 2016 event which hosted over 800 registrants, the 2017 Jazz Connect Conference, with a theme of “The Family of Jazz,” will feature a series of essential workshops, panels and events held over the course of two days. The Early-Bird Pre-Registration rate is only $145, until December 15, with additional discount of 15% offered to members of various organizations, including APAP, Chamber Music America, Jazz Journalists Association, JazzWeek, JazzCorner, ASCAP, BMI, SESAC and AFM Local 802.

With a theme of “The Family of Jazz,” the conference will again bring together a wide cross-section of the jazz community for over a dozen workshops and 5 plenary sessions, on a variety of timely and engaging subjects.

Moderators and panelists include an impressive cross-section of artists and professionals. Returning this year by popular demand will be an “Ask the Experts” networking session enabling emerging artists and professionals to connect and get informed input on their own careers and operations.

The latest schedule reflects the input from and collaboration with numerous organizations such as JazzWeek (radio programmers), the Music Business Association, ASCAP and the Jazz Journalists Association.

In addition to incorporating the involvement of various organizations, the sessions also include a wide range of voices from inside and outside the jazz community, so that we may examine and discuss the full range of issues and trends both within our community and with the music business at-large.

The Jazz Connect conference is organized by Peter Gordon of the Jazz Forward Coalition and Lee Mergner of JazzTimes, with assistance and input from over a dozen industry professionals. The conference has received the support of the Association of Performing Arts Presenters organization, which hosts the world’s leading forum for the performing arts every year in New York City

The Jazz Connect Conference - Flyers
The Jazz Connect Conference – Flyers

Website: www.jazz-connect.org

Background and reactions to Bad Bunny’s halftime show in The Super Bowl

The Super Bowl is the name given to the final match of the National Football League (or simply known as the NFL) championship, whose opponents are the winners of the National Football Conference and the American Football Conference. The match is due on the second Sunday of February every year and is one of the most watched broadcasts in the United States, but it is not the only thing that grabs viewers’ attention that day.

Over the years, the Super Bowl has become one of the most important social events in the country, to the point that it is one of the days of the year when more food and drink are consumed. One of its biggest attractions, and a matter of controversy from time to time, since its inception has been the Halftime Show. 

Absolutely every edition has featured a musical performance during halftime of the match. In the beginning, college marching bands were responsible for taking up the cudgel for the show, but its growing popularity got much more famous singers and bands be hired to take this prime spot.

There have been great and supremely talented artists, such as the exceptional case of Michael Jackson, who gave one of the most legendary and memorable performances to date. Likewise, artists such as U2, Justin Timberlake, Prince, Paul McCartney, The Rolling Stones, and Madonna, among others have also participated there. More recently, Shakira, Jennifer Lopez, Rihanna, and Usher have performed at the halftime show.

However, few musical performances have caused as much controversy as this year’s, which was performed by music producer, rapper, and reggaeton artist Benito Antonio Martínez Ocasio, known as Bad Bunny.

How Bad Bunny started his show
This is how the Bad Bunny’s halftime show started

Who is Bad Bunny?

Seeing everything he has achieved on a professional and artistic level, we could find it hard to believe the humble origins of the Puerto Rican artist, who grew up in a working-class household and was the son of a truck driver and a teacher who always instilled in their son the taste for music since childhood. By that time, many of his acquaintances started calling Benito “Bad Bunny” because of a sweet photo of him wearing bunny ears and having an annoying face.

What is known of his working life before becoming an artist is that for a time he worked as a bagger at Econo Supermarket while uploading the songs he composed to SoundCloud, material which reached the ears of producer DJ Luian. Through him, he managed to be signed to the label Hear This Music in 2016 and strengthened himself as an artist by collaborating with urban music greats such as J Balvin, Ozuna, and Cardi B. From there, his fame and popularity did nothing but grow and grow.

After that, what came next was a string of hits from his albums, which were “X 100PRE,” “YHLQMDLG,” “El Último Tour del Mundo,” “Un Verano Sin Ti,” “Nadie Sabe Lo Que Va A Pasar,” and “DeBÍ TiRAR MáS FOToS.” Following the release of “X 100PRE,” the Puerto Rican left Hear This Music and broke his professional relationships with DJ Luian and Mambo Kingz due to creative differences and the lack of support for their projects. 

Already in 2018, it was finally confirmed that “El Conejo Malo” left Hear The Music to join Rimas Entertainment led by his manager Noah Assad, who is the current CEO, public face, and majority owner of the company. However, the main investor since its founding in 2014 was former Venezuelan military officer and public official Rafael Jimenez Dan, whose links with the late President Hugo Chávez have made him a controversial figure and, to some extent, harmful to the company. For this reason, every effort has been made to disassociate Jiménez from the label until he finally sold his 60% stake in 2023, when Assad took full control of Rimas and Sony Music stepped in as a new investor.

Bad Bunny singing ''Soy Peor''
Bad bunny in his videoclip ”Soy Peor” during his time with Hear The Music

However, this situation inflicts no injury on the image and great success of Bad Bunny, who clearly has nothing to do with these businesses and operations between the owners of his current record label.

Social and political stances

In recent years, Bad Bunny has used his art to put a magnifying glass on important issues for Puerto Rican and Latino communities. Some of them are the exodus of many inhabitants of the island, gentrification, the energy crisis, and the territory’s status of associated state. In fact, he participated in the 2019 protests demanding the resignation of then Governor Ricardo Rosselló and released the song “El Apagón” and financed a documentary of the same name denouncing the constant blackouts, the terrible service provided by the private company Luma Energy, the privatization of beaches, and the government’s abandonment of Puerto Rico’s infrastructure. 

As for the Latino community in the United States, the artist has been very vocal about Immigration and Customs Enforcement (ICE) proceedings against illegal immigrants and recent altercations with some protesters who claim that the institution has criminalized Latinos, no matter if they are criminals or not. Moreover, in his acceptance speech for his Grammy in the category of Best Urban Music Album, he said, “ICE out! We are not savages, we are not animals… we are humans and we are Americans.”

With this prelude, it is clear how Bad Bunny would focus his show at the Super Bowl a week later on February 8 of this year.

Bad Bunny during his performance
Bad Bunny during his performance in the Super Bowl

Bad Bunny’s participation in the Super Bowl

The NFL and the production company Roc Nation, led by American rapper Jay-Z, chose Bad Bunny as the main artist for the halftime show in order to attract a global and Latino audience, a decision that obtained Commissioner Roger Goodell‘s support, which earned him a tsunami of criticism from much of the American public. What is known about this is that Jay-Z took into account his cultural impact and status as a Spanish-language musical leader, aiming to go for freshness and novelty on stage. 

So, that was how February 8 arrived with a very high expectation for what the artist and his team had prepared for that day. And boy, did they have a few surprises.

The performance, executed entirely in Spanish, was a tribute to Puerto Rico and Latin America in general. During the 15 minutes the Puerto Rican artist was on stage, scenography represented typical elements from the Island of Enchantment and much of Latin America, such as sugar cane fields, men playing dominoes, piragua stands, boxers, plastic chairs, barbershops, among others. 

He kicked off the concert with one of his greatest hits, “Tití Me Preguntó,” followed by a remix of some of the most iconic songs by reggaeton artists such as Daddy Yankee, Don Omar, and Tego Calderón. One of the big surprises was the appearance of Lady Gaga performing “Die With A Smile” in salsa version and dancing with Bad Bunny to make way for Ricky Martin singing “Lo Que Pasó En Hawaii” in open protest against the parallels between the situation in Hawaii and that of Puerto Rico today. 

The show closed with the urban artist saying “God Bless America” and proceeding to list all the countries that comprise the American continent alongside people waving their flags. 

Lady Gaga singing
Lady Gaga singing ”Die With A Smile’’ in salsa version

Some reactions after the show

Reactions to the show were extremely divided. While much of the Latino audience welcomed the Benito’s message, many Americans found it boring and confusing because of unfamiliar references and language barrier. However, it is clear that it had a profound impact and will extend the conversation about Latinos for a long time. 

Even aside from art and the quality of the performance, many understand that the show goes much further than the artist and his actions, but rather the social and political message he wanted to bring to the United States and the world, to the point that President Donald Trump himself described it as “absolutely terrible, one of the worst, EVER!” He also added that the show “doesn’t represent our standards of Success, Creativity, and Excellence” of the United States and that it was “a slap in the face to our country.”

However, other personalities like Jimmy Fallon, who has had Bad Bunny on his show, have shown his support to the artist on numerous occasions both on his show and social media. He also received support and praise from singers such as Katy Perry, Kacey Musgraves, and Alicia Keys. 

Bad Bunny with the flags
Bad Bunny with the flags of Latino countries

A Puerto Rican artist’s perspective on Bad Bunny’s show

There have been many reactions from all over the world, but what do Puerto Ricans themselves think about it? To know what a Puerto Rican artist thinks about this great event, we spoke with singer, comedian, and actress Carmen Nydia Velázquez, who shared her thoughts about “el conejo malo” and all the debate his show generated in the media and social networks. The performer noted the following:

”In common with the vast majority of Puerto Ricans, I am deeply proud of our Bad Bunny’s performance in the Benito Bowl. He was spectacular! The fact that our beautiful island has given birth to a world-famous artist who has reached the most coveted stage for any artist fills your heart with joy. But the most important thing about Benito is his commitment to give us a relevant place in the world, with our Spanish language and our culture. The noise surrounding Benito’s participation, before, during, and after the Super Bowl seems to have no end. It’s now history!”

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

Tito Rodríguez The Unforgettable “Gentleman of Salsa”

A journey through the life and legacy of Pablo Rodríguez Lozada, the voice that defined an era between mambo and bolero.

Pablo Rodríguez Lozada, known worldwide as Tito Rodríguez, was born on January 4, 1923, in Santurce, Puerto Rico. From early childhood, young Tito displayed a natural affinity for Caribbean rhythms, organizing the ensemble Sexteto Nacional alongside his lifelong friend, Mariano Artau.

Pablo Rodríguez Lozada, conocido mundialmente como Tito Rodríguez
Pablo Rodríguez Lozada, conocido mundialmente como Tito Rodríguez

The Early Steps of a Prodigy

At the age of 13, his professional career began to take shape when he joined Conjunto Típico Ladí (also known as Conjunto de Industrias Nativas), led by Ladislao Martínez. Shortly after, he joined the Cuarteto Mayarí under the direction of Plácido Acevedo, where he played maracas and sang second vocals. Although this stint lasted only four months and left no studio recordings, it was fundamental to his musical development.

In 1939, at just 16 years old, Tito emigrated to New York City with hopes of carving out his own musical path. His first jobs in the Big Apple included collaborations with his brother Johnny Rodríguez’s orchestra and recordings with Cuarteto Marcano.

After passing through prestigious groups like Cuarteto Caney and the orchestras of Enric Madriguera and Xavier Cugat, he had to pause his rising career in 1945 to serve in the U.S. Army.

El legado de Tito Rodríguez es analizado este domingo en el Viejo San Juan. (Foto UA Latino)
El legado de Tito Rodríguez es analizado este domingo en el Viejo San Juan. (Foto UA Latino)

The Rise of the “Mambo Devil”

Upon his discharge, Cuban pianist José Curbelo recruited him for his band. It was at the China Doll nightclub where Tito met Japanese-American chorus girl Takeku Kunimatsu (Tobi Kei), who would become his wife and lifelong partner.

In 1948, Tito founded his own group: the Mambo Devils. During the height of the mambo craze, Rodríguez entered into a legendary musical rivalry with Tito Puente and Machito’s orchestra.

Under the Tico Records label, he renamed his group Los Lobos del Mambo. Ever conscious of the importance of formal training, he enrolled in the Juilliard School of Music, where he studied percussion, vibraphone, and xylophone.

Un recorrido por la vida y el legado de Pablo Rodríguez Lozada, la voz que definió una era entre el mambo y el bolero
Un recorrido por la vida y el legado de Pablo Rodríguez Lozada, la voz que definió una era entre el mambo y el bolero

Reinvention: From Mambo to Bolero

In 1953, he signed with RCA Victor, formally establishing the name Tito Rodríguez and his Orchestra. Years later, in 1960, he achieved massive mainstream success with United Artists and the album Live at the Palladium.

However, in 1963, an artistic union dispute prevented him from performing with his usual musicians. Refusing to back down, he took on the challenge of radically shifting his style: he traded the frenzy of mambo for the intimacy of boleros accompanied by a string orchestra. The result was the album From Tito Rodríguez with Love, a commercial phenomenon that established him as an unparalleled romantic crooner.

Return to Puerto Rico and the Beginning of the End

After dissolving his orchestra in 1966 due to contractual issues, he returned to Puerto Rico to star in his own television program. However, nostalgia and his enduring passion brought him back to New York for the record Estoy como nunca.

Tito Rodriguez era excelente tanto en guarachas como en boleros. Esto lo convirtió en uno de los artistas más versátiles de la época.
Tito Rodriguez era excelente tanto en guarachas como en boleros. Esto lo convirtió en uno de los artistas más versátiles de la época.

It was in 1967 when the first symptoms of leukemia appeared. Despite the diagnosis, Tito continued to work. In 1971, he founded his own label, TR Records, releasing the iconic album Inolvidable (Unforgettable).

A Final Farewell on Stage

In 1972, he celebrated 25 years in the industry with a show at the El Tumi club in Lima, Peru, alongside Lucho Macedo’s orchestra. This live recording would prove to be a premonition of his end.

Ignoring medical advice, he gave his final performance at Madison Square Garden on February 2, 1973, alongside Machito’s orchestra. During the show, his health failed, and he had to be hospitalized. Finally, on February 28, 1973, Tito Rodríguez passed away in New York in the arms of his wife.

Per the singer’s express wish, his remains were returned to Puerto Rico. At his funeral, legendary figures of the music world paid their respects, including his old rival, Tito Puente. Today, his ashes rest alongside those of his wife, while his voice continues to resonate as one of the most elegant and versatile pillars in the history of Latin music.

Also Read: Tito Rodríguez, Jr. “The Palladium legacy lives on”

10th Annual Salsa Festival in Cuba: A Milestone Between Stage Lights and the Shadow of Crisis

The event founded by Maykel Blanco celebrates a decade of history amidst blackouts and inflation that make access difficult for the local public.

Havana. What began in 2016 as a personal dream for musician Maykel Blanco has evolved into Cuba’s most significant cultural tourism event for the genre.

As the Salsa Festival reaches its 10th edition, it has succeeded in uniting top-tier orchestras under a single project, fostering an organic exchange between local dancers and international visitors who travel specifically for the occasion.

Festival de la Salsa 2026
Festival de la Salsa 2026

However, the announcement of this year’s celebration scheduled for February 26 to March 1 at Club 500 comes at a time of extreme fragility for the country.

While the government promotes the festival as a showcase of “credibility and growth,” the Cuban population is grappling with a profound economic crisis characterized by daily blackouts, shortages of basic goods, and a steady decline in quality of life.

Tributes and a Star-Studded Lineup

This special edition will pay tribute to the 70th anniversary of Elito Revé y su Charangón, an iconic institution of popular dance music. Organizers announced in a press conference that the event will feature a strong international presence, including foreign dance instructors and DJs.

Starting Friday, February 27, four high-caliber orchestras will perform each night. Among the confirmed headliners are:

  • Los Van Van
  • Alexander Abreu y Havana D’Primera
  • Adalberto Álvarez y su Son
  • Alain Pérez
  • Willy García (Special guest from Colombia, former vocalist of Grupo Niche).
Cartel Oficial de los Artistas que estarán en la 10ma edición de el festival de la salsa en Cuba
Cartel Oficial de los Artistas que estarán en la 10ma edición de el festival de la salsa en Cuba

The Economic Barrier to Entry

Despite its cultural relevance, ticket prices have sparked debate. Presale tickets at Cine Yara were set at 800 Cuban Pesos (CUP), a price that will rise to 1,000 CUP per night at the venue.

In a context of stagnant wages and runaway inflation, these figures are out of reach for many everyday Cubans, highlighting the gap between official propaganda and daily reality.

Main Concert Schedule

Date Featured Artists
Thursday, Feb 26 Opening Gala: Issac Delgado, Los Muñequitos de Matanzas, and Eduardo Sandoval.
Friday, Feb 27 Los Van Van, Manolito Simonet y su Trabuco, Papucho y Manana Club.
Saturday, Feb 28 Maykel Blanco y su Salsa Mayor, Adalberto Álvarez y su Son, Alain Pérez, and Willy García.
Sunday, March 1 Alexander Abreu y Havana D’Primera, Haila Mompié, and Elito Revé y su Charangón.
PROGRAMACIÓN OFICIAL (Horarios) de todas los conciertos que brindaremos en EL Festival dela salsa en cuba en su 10ma Edición
PROGRAMACIÓN OFICIAL (Horarios) de todas los conciertos que brindaremos en EL Festival dela salsa en cuba en su 10ma Edición

Beyond the Music: An Immersive Experience

The festival—driven by MB Producciones, ARTEX, and the Paradiso Agency—is not limited to evening performances (which begin at 9:00 p.m.). The agenda also includes:

  • Dance Workshops: Classes in Casino (Cuban salsa), Rumba, Son, and the popular “Reparto” genre, taught by prestigious instructors.
  • Pool Parties: Meet-and-greets with national and international DJs at the Memories Miramar Hotel.
  • Academic Forums: Lectures on the evolution of popular music and the legacy of figures like Elio Revé Matos.
Presentadores Oficiales de la 10ma edición del Festival de Salsa en Cuba
Presentadores Oficiales de la 10ma edición del Festival de Salsa en Cuba

Once again, the Salsa Festival presents itself as a musical oasis on an island mired in uncertainty, leaving open the question of whether art can truly build bridges in the midst of such a structural crisis.

Also Read: Compay Segundo The Eternal Patriarch of Cuban Son

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International Salsa Magazine (ISM) is a monthly publication covering salsa activities around the world and has been publishing since 2007. It is a worldwide network of volunteers coordinated by ISM Magazine. Together, we work to strengthen salsa events around the world.