I had recently spoken with broadcaster and event promoter Jesús “Chuy” Martínez about his beginnings, career, experiences, unpublished facts and other details concerning his brilliant career in the entertainment world. Without further delay, we will carefully read his words and enjoy the stories he has to offer.
Jesús “Chuy” Martínez some years ago
Good morning, this is Karina Garcia, North America director for International Salsa Magazine. I am very happy today to have a very special guest, who is none other than broadcaster, promoter and organizer of events born in the Dominican Republic, specifically in the city of Pacheco, Jesus ¨Chuy¨ Martinez, with whom we will have the pleasure of talking. How are you today, Mr. Martinez?
Very well. I am here ready for your interview.
Okay, Mr. Martinez. You have a long and successful career in the world of the arts. Could you start telling us how it all started and what made you turn to the entertainment world?
It all started in New York City in 1970 when I began to do activities in lakes. In New Jersey, there were many lakes and we started doing dances with Pete ¨el Conde¨ Rodriguez and many other orchestras. After doing a few activities in New York, I moved to the city of Los Angeles, where I worked for a radio station called 107.1 FM KMAX starting with two hours of tropical music and we lasted about three years. We started with two hours and then we had five hours per day. We were supported by some record labels that gave us all the music, especially Fania Records and TH Company. We brought all the music to Los Angeles, which was practically in its infancy. There was no tropical music. There were only three stations that were only dedicated to playing norteño music, so we were an option for the California audience. We had salsa, Merengue, Colombian, Venezuelan, New Yorker, and Puerto Rican music. We started the program with two hours a day, came to have five hours a day and it was a success for the public, but at that time, FM radio stations were only present in the houses. At that point, FM did not yet exist, which started appearing in cars and cassettes in 1979 or 1980. Prior to that, a thing called cartridge was used, but with the coming of FM stations in cars with cassettes, this frequency began to become stronger because people could still listen to the radio in their vehicles and homes. That was a process that in which made the radio strong and able to work with FM. I worked at KMX radio for about three years and then I went to other places like Radio Cali KLOVE as an account executive before I started a new program at KFOX 93.5 FM in 1982. At that time, we did activities in nightclubs like Virginia, Los Globos, Sombrero, among others, and we used the different orchestras of the time like the Siba orchestra and Azuquita Y Su Melao. All that was a process in the 70s. Then, we started in the 80’s to do FM radio with all the guarantee of the radio in the cars, which was when we began to work in discos like Candileja, La Bamba, and Escondite. Something important was the experience gained and, in view of my studies as a sound engineer, I learned a lot about equalization and all that stuff. I went to Cali, Colombia a few times and then to Venezuela, where I learned equalization and the system for discotheques. We had not only the 80’s, but many South Americans in Los Angeles like Venezuelans, Colombians, Ecuadorians, Peruvians, and Central Americans. Something that helped to internationalize the rhythm in Los Angeles was to take Saturdays and most Sundays to make projections at KFOX 93.5 FM. In the case of Saturdays, we had four hours of Central American music, we had a large audience of Salvadorans, Guatemalans, who listened to our program.
Jesús “Chuy” Martínez interviewing Oscar D’ León at Kfox 93.5 fm in 1990
All right. Taking into account the emergence of the FM frequency in cars, playback devices, the internet, and digital media, could you say that people like you have had to modernize and reinvent themselves to stay relevant in the market?
That’s right. At the time of the existence of record companies like Fania, Sony, RMM, MP, everything was easy and everybody could project their music in the 80s and 90s. First, people used LPs and cassettes, but the first CDs began to appear in 1986, so no one wanted the old LPs and cassettes anymore. Music was played on the radio where I did my show and at KLOVE, where salsa artists like Grupo Niche with their song Cali Pachanguero were played. Then Marc Anthony and many other artists appeared, so record companies promoted you and you had the ease of projecting a singer, but by the year of 1996, people no longer wanted CDs because modern technology came in and everyone started downloading music with the new internet system. All of this has contributed to a total change and it is the same thing that exists now, which makes it difficult to project an orchestra or a soloist. There is no longer the question of radio promotion and now everything is digital, so we have had to adapt to the new technical internet system with all its means of communication.
Would you consider that this new system has been beneficial to fans and detrimental to artists at the same time?
That is right. They do not have the opportunities they had before. In the late 80’s and early 90’s, there were many record companies with which everyone could be promoted, facilitating the projection of an artist in the market quickly. Now it is different and a determining factor was the death of most of the good artists from Fania and other companies like Pacheco and Larry Harlow, so young people who want to project themselves do not have the record label and the CD. They have to use other methods such as the internet, the downloading songs, and the sale of songs. There are some DJs who are experts at downloading music and there are many channels focused on providing DJs with both video and audio.
Poster announcing Oscar D’ Leon and Grupo Niche’s concert at the Palladium Hollywood in 1987
There are many web portals dedicated to offering music through which people can get songs without even spending a cent, so the artist makes nothing to offer his art.
That is true, but there are companies dedicated to selling songs on an individual basis. They can charge up to 99 cents per song and different things that have been invented. There are artists who gain some profit from selling their songs, but it is not what it used to be. In times gone by, people used to buy CDs, but now there are some DJs who are specialists in downloading music and connected to sites which offer the possibility to download videos and songs in exchange for a monthly allowance. I know about five DJs who have the ability to download songs, but it is not the same as before. We are in the year 2021 and things are not easy for new artists who are making themselves known because they no longer have so many benefits.
Modern salsa and memorable experiences
What do you think of current salsa?
There are quite a few orchestras here in Los Angeles, which perform at the Mayan, the Granada and Steve’s Steak House. There are many orchestras that project themselves through their performances, but with COVID-19, everything has gone way down in terms of concerts. We are doing concerts, but in a very limited way because the community had great fear of going to the venues, especially now that there is talk of the Delta variant. People are really scared and it is unbelievable what is going on in the California artistic scene, the world with the COVID problem and people’s fear of getting infected. That is why a large part of the population does not go to concerts, except for the youth that defies the moment and is not afraid.
Poster made by KFOX 93.5 FM, the radio station where Martínez worked
Could you tell me which venues are open for dancing salsa in Los Angeles?
Granada, Steve’s Steak House and the Mayan are the most active for tropical music. The Mayan is hosting the largest number of concerts. Toño Rosario’s was a success and Jerry Rivera will come soon, so let’s see what happens. Other promoters are going to bring La Sonora Ponceña and different singers, but there is no certain that people will come for all that has happened.
Could you tell me which is the most memorable experience you have had in your career?
The most memorable experience was when Frankie Ruiz had a concert at the Bonaventure Hotel and the man went to jail the same day (laugh). That was the greatest trouble because there were so many people interested in seeing him and he never came. That was a really bad experience in life. I did a lot of dances with Oscar D’ León, Eddie Santiago, La Orquesta Inmensidad. The first time Grupo Niche came here in 1986, with whom we did dances with Oscar D’ León and La Misma Gente at the Hollywood Palladium. We also worked with Ray Barreto, Pastor López, Santiago Cerón, La Orquesta Inmensidad, Andy Montañéz, Lalo Rodríguez and many other artists. Before there were many orchestras in a single event, but now people get used to one orchestra and several DJs.
A final message to those who go into the arts
Tenacity and perseverance at work, Hard work, hard work, hard work. You should study the field when you want to do something, be sure that your idea is good and avoid failing.
Poster announcing Frankie Ruiz’s concert at the Bonaventure Hotel in 1989
The versatility, trajectory, and professionalism of this musician and composer, born in the capital of Venezuela, make him one of the most important and sought-after salsa bastions in the country.
This time comes to Salsa Escrita “La Columna Salsera de Barquisimeto”, the outstanding trombonist Eliel Rivero Rivas, who was born on April 3, 1961, and already has an artistic life with more than 40 years; for this and many reasons, we bring to our readers a complete review about “El Chamán del Trombón”, as he is jokingly nicknamed by his musical friends.
Eliel, welcome to the salsa column, which is currently dedicated to providing information on the happenings of Afro-Caribbean music and therefore also projects and makes known nationally and globally the musical talent here.
Thank you very much Professor Carlos Colmenárez, for giving me this opportunity to share with you and all the regular readers of your prestigious Salsa Escrita “La Columna Salsera de Barquisimeto”, and to spread my career.
To begin with, we want to know how were your beginnings in music? -My life was surrounded by music since I was a child since my grandfather Pablo Emilio Rivas was the first tuba player of the Symphonic Orchestra of Venezuela, besides that in the family gatherings we listened from symphonic music to the most emblematic Caribbean artists of the moment, and so on, until I lived in Los Frailes de Catia, Macapaya sector, there was “La Dimensión Latina” and I was captivated by a cover where the trombone was shown, I think it was Dimensión Latina 76, and since that time I said, I would like to learn to play that instrument, but I did not do it because it was so expensive to buy one. Until one day Rodrigo Mendoza, who had just joined Dimensión Latina and who lived in front of my house, heard me playing a trombone solo of the song “Yo tenía una mujer” by Roberto Roena in a meeting that we often had and he told me: start studying that instrument.
Eliel Rivero, “The Shaman of the Trombone”
From then on my musical career began, I was able to buy a trombone and thus began this beautiful story that I enjoy to this day, thanks to the support of my family. I began to have contact with many musicians in the area, among them, Johán Muñoz, a brother sent to me by God, Antonio Acevedo “Toñito”, son of maestro Dugarte, trombonist of the Sinfónica Venezuela and Alberto Crespo, who also lived in Los Cuatro Vientos de los Frailes.
We all followed the trajectory of orchestras and musicians that rehearsed in the area such as “La Banda y su Salsa Joven”, “La Renovación”, we followed the steps of Alejandro Pérez Palma, Faustino González, Enrique Blanco “El Bachaco”, César Monjes “Albóndiga”, José Antonio Rojas “Rojitas”, Nené and Taíto Piñango and many more. From that moment I began to take my course as a trombonist with seriousness and professionalism until today.
Eliel, where did you study music and with whom? My friend Carlos, I studied theory and solfeggio at the Musical Association of the Federal District with maestros Daniel Contramaestre and Daniel Milano.
I continued my training at the “Simón Bolívar” Conservatory of Music, directed by maestro José Antonio Abreu, and at the “José Ángel Lamas” music school, under the guidance of professors Ángelo Pagliuca, Tiero Pezutti, Antonio Estévez, Erick Colón, among others.
I continued my professional and work training with the “Simón Bolívar” Symphony Orchestra for 40 years, sharing with different masters of national and international music.
At the same time, I had the opportunity to participate as an active or guest musician in national and international orchestras of the salsa genre.
Now that you mention the salsa genre, with which orchestras and vocalists have you participated? Professor, at the national level, apart from the Simón Bolívar Symphony, Municipal Symphony, Venezuelan Symphony and Caracas Philharmonic, I have been on stage with: Bailatino, Oscar D’León, El Pavo Frank, Mariana, Marianella, Andy Durán, Cheo Navarro con Tributo, la Banda Sigilosa, Orlando Poleo, Hildemaro, Alfredo Naranjo y su Guajeo, Silva y Guerra, Saxomanía, Trina Medina, Orlando Watussi, Magia Caribeña, Moisés Daubaterre with Grupo Mango, Bacheo, Servando y Florentino, Naty y su Orquesta, La Negramenta, El Trabuco Venezolano, La Nueva Parranda, Canelita Medina, Javier Plaza, Guarará, among other participations to which I have been invited.
And as for international artists and groups, which ones have you worked with? My friend Carlos, I have had the honor of accompanying: Gilberto Santa Rosa, Celia Cruz, Justo Betancourt, Nino Segarra, Eddie Santiago, Willie González, Roberto Lugo, Ismael Miranda, Maelo Ruiz, Cheo Feliciano, Paquito de Rivera, Andy Montañez and in relation to artists outside the salsa genre: Rafael, Andrea Bocelli and José Luis Rodríguez “El Puma”.
Excellent and admirable career Eliel, now, what can you tell us about who you have recorded with? Indeed Carlos, I have made recordings with the Simon Bolivar Orchestra, Música Latinoamericana, Bailatino, El Pavo Frank, Naty y su Orquesta, Victor Quintana, Rumberos del Callejon, Bacheo, Un Solo Pueblo, Trina Medina, Saxomania, La Dimension Latina with Joseito Rodriguez, La Negramenta, Orlando Poleo, Carlos Julio “El Oso”, Juan Pablo Barrios, Víctor Cardona y su Máquina de la Salsa, Gilberto Santa Rosa con la Sinfónica Venezuela, Cheo Navarro y su Orquesta Tributo, Francisco Requena, Oscar Dudamel, Otilio Galíndez, Luisito Quintero, among others.
Eliel, what can you tell us about your facet as a composer? I started when I was 13 years old and I have written songs for the following artists: Orquesta Los Satélites de Cheché Mendoza with the song “Sufrí por ti” on the LP Di Corazón, I have also written compositions for the Sabadonga orchestra, Oscar Dudamel, Victor Quintana and most for the Bailatino group, of which the hit “Bailatino llegó” was versioned and recorded by the Hispanic Orchestra of Harlem (SHD) of New York under the name “Baila Latino” on the CD “Viva la Tradición”, Grammy award-winning album.
World Artistic Tours? I have performed in Italy, France, Spain, Japan, Germany, Argentina, Colombia, Chile, Switzerland, England, Holland, USA, Mexico, Australia, Cuba, Dominican Republic, and Peru.
Eliel Rivero is one of the most important and sought-after salsa bastions in the country.
At present, what do you do besides being with different orchestras?
Well, Professor Carlos, I am currently involved in pedagogical activities with the trombone, doing master classes and I am a frequent guest in the “Orquesta Nuevo Mundo” of Bogota, directed by Alejandro Orellana, covering symphonic salsa and permanently in the trombone and composer with the group Bailatino.
By the way, how did Cheo Navarro ask you to be part of the staff of musicians of Bailatino y Tributo? In fact, my friend Carlos, that was one night when we were in block 6 of 23 de Enero in Caracas, we greeted each other and he told me that he wanted to make a band to cure us playing the salsa that fed our lives, such as Palmieri, Libre, Mon Rivera, Típica 73, Bobby Rodríguez and others.
And I told him to count on me and since at that time I was playing with Johán Muñoz with Ajoporro of Grupo Mango in private parties, Cheo told me: “Tell Johán if he wants to participate in this project” and the affirmation was not long in coming. As for “Tributo”, the same thing happened, Cheo wanted to record emblematic songs that nurtured his career, and of course, we gave him our support since those of us who recorded in that project are from “Bailatino”.
Eliel Rivero performing pedagogical activities with the trombone.
Finally, what are your social networks? My social networks are Eliel Bailatino on Facebook and eliel_bailatino on Instagram. Concluding, we want to know why that nickname “El Chamán”. Ha, ha, ha, ha, my friend Carlos, that epithet was given to me by my great friends of the “Negramenta” Orchestra. Let me tell you Eliel that for me and for “Salsa Escrita” it was a privilege to have you as a special guest in this issue and from “International Salsa Magazine”, we wish you the best of the best and of course, keep on giving it up with pure tastiness…!
Thank you very much Professor Carlos Colmenárez for this opportunity that you give me and I take this opportunity to send my greetings to the great number of salseros in the city of Barquisimeto and congratulate you for this praiseworthy work of supporting and projecting the musical talent of Venezuela and the world.
Remember not to leave your house…! Until next time and let’s keep on salsing!
Many musical genres that emerged over the years, among them are the salsa genre which was a boom in the decade between the 60s and 70s, being a movement that mixes African and Caribbean sounds, which has been adopted by male artists already that in those times the woman who played a musical instrument was frowned upon and it was not accepted that they were in music, however this did not stop and the experience made the artist and she spent many years, female groups managed to exist in Salsa.
In this October 2021 edition, we have the opportunity to interview Yamira Blanco Ramos, a salsa singer who participated in the orchestra made up of fourteen women who cultivate Cuban popular music, fusing the most traditional rhythms with contemporary sound, also known as “Las Mulatísimas del Sabor ”, have achieved a seal that distinguishes them and are appreciated by both critics and dancers from all over Cuba and from various countries around the world.
Photo by Yamira Blanco
He was in the hands of the prestigious guitarist Efraín Amador during his beginnings and in turn began his studies at the National School of Art (ENA) and then continues the same at the Higher Institute of Art of Havana (ISA), where he graduated with a Degree de Oro, during his student years he always stood out for his active participation in groups of different formats, from duos to septets; Later, he had the opportunity to participate in the 2001 Mujer International Guitar Festival in Costa Rica, where he performed with the Plectro trio, made up of guitar, tres and lute.
He joined the Anacaona group, starting in September 2006 with his tres to enrich the musical spectrum of the group and after a year (January 2007) he joined the Los Galanes quintet simultaneously, under the musical direction of Armando Vidal , vocalist of said group, with whom he performs a musical work based on traditional Cuban music.
In 2008 he recorded with the quintet the album Suena por mi Cuba with the Egrem label, and later with a small format of the Anacaona group, he recorded in 2008 the musical theme “Parampampan”, for the filmmaker’s musical film Chico y Rita Spanish Fernando Trueba; and after a year (2009) he participated with the Anacaona group in an artistic tour in Canada and also attended different jazz festivals and “World Music”, including the third edition of the Aruba Jazz Festival.
As of 2010 Yamira together with the Anacaona group, on their tour to Curacao they presented the show “Viva Cuba”, with the purpose of raising funds for the fight against breast cancer, organized by the Sinte Rose Foundation of said country. This tour brings the Aruba International Film Festival to a close.
Photo of Yamira Blanco posing at the piano
Later they resumed their participation with the Anacaona Orchestra in the Santa Lucía Jazz Festival in 2011, being its 20th edition, where they were together with leading jazz players from the international arena, shining for their improvisations on the different themes that they performed with the orchestra. both on the tres and on the guitar.
In 2012 they celebrated their 80th anniversary of this musical institution, making an extensive tour throughout the country in addition to multiple radio and television programs and in August they performed with the group at the PDVSA salsa festival. , in Venezuela, alternating with salsa groups from that country.
They began to record the album De Cuba soy, in 2013 under the Colibrí label, a phonogram dedicated to celebrating the eight decades of artistic life of the Anacaona group, then Yamira assumed the direction of the Quinteto Los Galanes, being appointed by its vocalist and founder, who decides to retire, so she poses new challenges in the music that is the inspiration of this young and talented Cuban tresera.
In 2015:
I participated in the documentary Mix The World by Grammy nominated filmmakers Alex Elena and Steve’s Baughman.
Son Latino, a music septet that he has directed since 2015, is made up of a format of three, guitar, double bass, bongos, tumbadora, singer, trumpet and minor percussion.
Works multiple genres such as son, song, cha cha cha, bolero, rumba, guaracha, bachata, merengue and the interpretation of current Cuban timba, starting from its purely traditional format.
It is a group that seeks to defend Cuban popular music from more contemporary harmonic and rhythmic sounds, with good taste and a high aesthetic sense in creation, seeking its own stamp with auditory and visual identity.
In 2020 Yarima Blanco becomes a Soundwear artist and records with several guests the CD Pa mi tres, a co-production between the Recording Company and Musical Editions, Egrem, and Soundwear Production that will have its presentation and launch in 2021.
The phonogram is a journey through the sounds of Cuban and Caribbean popular music based on 12 unpublished songs where the authorship of Yarima herself, the Puerto Rican Tomás Pérez and the Cubans Yunior Molina, César Lozada and Juan Antonio Gil stand out.
With musical production by the hand of the Latin Grammy award Roniel Alfonso Mella, they participate as special guests in several of the songs on the album: maestro Pancho Amat, Alain Pérez, Kelvis Ochoa, Rolando Luna, Bárbara Zamora, singer from Anacaona, among other important Cuban musicians.
Photo of Yamira Blanco Live
Now if you want to know the exact list of the different activities that he carried out throughout his musical career, you can see them here:
Participation in Festivals:
Discography
2001
International Woman Guitar Festival, Costa Rica
2006
Cuba le canta a Serrat vol. 2, discography –Discmedi
2009
Aruba Jazz Festival
2007
No lo puedo Evitar, Anacaona -Bis Music
2009
Canadian Jazz Festivals
2008
Suena por mi Cuba– Quinteto “Los Galanes” – EGREM
2009
La Nuits D’Afrique Festival in Montreal Canada
2008
“Parampampan” – tema para el Largometraje Chico y Rita
2010
Aruba International Film Festival
2013
De Cuba soy – Anacaona – Colibrí
2011
20th edition of the Santa Lucia Jazz festival
2019
Lágrimas de la cantante Cassandra Nuñez –Egrem
2012
PDVSA Salsa Festival, Venezuela
2020
Pa mi tres, Egrem – Soundwear Production
2019
Salsa Festival in Bogotá Colombia Park
2020
Jazz Plaza Cuba Festival. Collaboration with Dominican-American Cassandra Núñez.
2020
Concerts and show in tribute to the bolero and its relationship between Mexico and Cuba, Mexico City, under the direction and musical production of Rosario Castro.
International Salsa Magazine / www.SalsaGoogle.com and its correspondent, Professor Carlos Colmenarez from Barquisimeto, Venezuela have the privilege to present one of the most important bastions of our Latin music in the Caribbean.
In this opportunity we honor in our salsa column, the Venezuelan percussionist Heyzer Cabrera, born in the city of Caracas, on May 3, who already has more than 30 years of musical career, because at the age of 7 years old he was part of the Venezuelan Children’s Choir, directed by Professor Raul Cabrera, his uncle.
At the age of 15 he began his interest in percussion, with the help of his great friend and also percussionist Juan Pablo Barrios and at 17 he began his career as a professional musician with the “Orquesta Canela” in 1994 and since then he has been part of many groups of the salsa genre, such as: “El Combo de Venezuela”, “La Negramenta” and accompanying international artists such as Andy Montañez, Van Lester and Pedro Arroyo.
Heyzer Cabrera, brilliant and virtuoso Venezuelan percussionist
In 2013, he began his project to make a recording studio, which is called “A Tempo Récords” and in parallel he studied sound engineering at the academy (Audio Place), under the guidance of Jesus Sanchez and Jean Sanchez. In his career as a sound technician he has participated as a producer of several orchestras and in 2019, he gets his first recognition by being nominated in the production “Con Todo” by Coco y su “Sabor Matancero”, for Record of the Year, Salsa Genre, at the Pepsi Music Awards in Caracas.
Heyzer, at the international level you have had presentations? Indeed Professor Carlos, in 2018 I had the pleasure of being in Cali, Colombia, with the orchestra “La Negramenta”, in La Topa Tolondra and the reaction of the public was of great emotion, chanting all the songs of the orchestra; later in 2019, I returned to Cali, but with the orchestra “Noche Caliente” and soon we will return to the neogranadino country.
And with Juan Pablo Barrios, you were part of his wonderful jazz-salsa band? Hey, yes, I was part of that wonderful orchestra for 8 years.
With Juan Pablo Barrios, I was part of his wonderful jazz-salsa band.
Heyzer, with which of the percussion instruments do you feel better for its execution? My friend Carlos, with all the irons equally, that is: timbales, congas and bongos.
Also, Heyzer Cabrera has just become part of the musical project “Ritmo Caliente”, the group formed by the musicians: Cheo Navarro, Alfredo Naranjo, Jhoán Muñoz, José Soto, Miguel Urbina, Rodrigo Mendoza on vocals and of course, Heyzer on percussion and also the first personal single entitled “Mi social”, was recorded in Cabrera’s studios.
For those who wish to contact and hire the excellent percussionist Heyzer Cabrera, you can do so at 0412-9782696, through Instagram: heyzer_drums, atemporecords. Facebook: Heyzer Cabrera and A Tempo Récords.
Heyzer Cabrera has just become part of the musical project “Ritmo Caliente”.
From Salsa Escrita, International Salsa Magazine / www.SalsaGoogle.com and all its staff, we wish the greatest success to this bastion of Venezuelan percussion.
Everything prior to the 20th century is in the History of Salsa, since what happened in the Caribbean is common to mankind.
As in the rest of the world, salsa in Venezuela entered in the 60s from the new sounds created in New York, and driven by musicians like Federico Betancourt (Federico y su combo latino), or radio programs like La hora de la salsa, although rumba and Cuban son were already rooted since the 40s and 50s.
There are different musical rhythms throughout the world and as time passes new rhythms are born and in turn dances that show the elegance, grace, fun and communication between us, at present the kizomba is a musical genre that emerged in the decade of the 70 in Angola, a South African country with varied terrain (beaches, deserts and rivers), this great genre is described as an art, it is passion and beauty who dances it, that means that the couple who dance it shows their viewers their own music through its steps and close movements (it is a narrow or sensual dance) since its songs are more leisurely, romantic and soft, currently it is the fashionable dance.
In the different congresses, events and / or festivals lively dances reign, with rhythm, grace and competitive, where there is a great interaction with the participants and spectators, especially in Latin America with the following musical genres Salsa, Bachata, El Mambo, Merengue and the Kizomba, where a great skill of conduction and communication is required between the dancers, alternating open dance steps (Pasos Libres) with complicated and fast movements of the feet.
There are a wide variety of congresses in all Latin American countries, which have taken place every year including the Covid19 quarantine through social networks such as Facebook live and Instagram live, but this time Costa Rica will be holding Costa Rica Bachata Salsa and Kizomba Fest 2021 from September 2 to 5 at the Hotel Radisson San Jose, Costa Rica.
It will be 4 days full of music from both DJs and live music, shows, competitions, pool parties, after parties and workshops, and everything is possible thanks to its sponsors Euroson Latino world Salsa Championship, Houston Salsa Congress, World Championship from Pasos Libres “La Negra Salsa”, Oaxaca Salsa Bachata Festival Nicaragua, Salsa Resort Punta’l, Pie World Championship, Palma Real Hotel & Casino and Sara Beauty Salon.
Costa Rica Salsa Bachata and Kizomba Fest 2021 Flyers
In this great tropical festival we will have the following artists (dancers) already confirmed:
Oswaldo Corzo (Mexico) will participate for the first time in the Costa Rica Salsa Bachata and Kizomba Fest, offering and giving him a lot of bachata on those days.
Style Company By Henry Urias (El Salvador)
Rincón Salsero Puntarenas (Costa Rica), known for being a school specialized in Salsa, Bachata, Kizomba and popular dances in Costa Rica, not to mention that they are experts as companies that offer shows and competitions, so their presence will be very interesting and dynamic. . @ Rincon-Salsero-Puntarenas
Alexander Gómez (Panama), who will teach us Panamanian Kizomba and contemporary rhythms, you can learn more through his Facebook page @danceholicpanama or Instagram @alex_holic.
Dicky Colon (Puerto Rico), known for being a Puerto Rican dancer and instructor who has participated in different international events, teaching salsa, afro, rumba and other musical genres, you can learn more through Instagram @ dickycolon
There will be the Dancer, Choreographer and teacher Jessica Quiles (Puerto Rico) @jessicaquilesll
Dancers of Papa Tambor Los Santana (Costa Rica), where we will be ready to enjoy the “Bomba” @ Danzarines-de-Papa-Tambor
Director and choreographer of Latin sphere # 2 # 3, dj, salsa and bachata dancer, Bachateros factory Danny Salsita (Colombia) @ danny.salsita
The dancers of Héctor and Mariana (Mexico).
The background music that they will have at the festival will be performed thanks to the participation of the following DJs:
Dj Azúcar Morena (Mexico), @djazucarmorena
Dj Mac (Mexico)
For more information, consult the following links:
