Search Results for: Salsa music

Peruvian singer Laura Bravo and her multiple projects in the Bay Area

The Bay Area continues to be the source of much talk in the Latin music scene and very talented singer and vocal coach Laura Bravo is the perfect example of that. The young but experienced artist gave us the honor of talking exclusively with us to learn a little more about her ambitious career and everything achieved over the years.

Laura singing live — Laura Bravo singing live during a wedding

Laura’s early interest in music

Laura tells us that she has been interested in music all her life, as her grandparents, aunts, uncles and cousins were always dancing and listening to music at home. In fact, her grandfather had a vinyl record player in which he always played boleros and Peruvian criollos waltzes, which inspired him to bring out his guitar and teach her little 6-year-old granddaughter to play. This led Laura to take a genuine interest in music and participate in events and recitals at school where she could evolve in this area.

On reaching the age of 12, her godfather gave her the opportunity to study music and singing at the Lima Museum of Art, Peru. At that age, she offered small concerts in which she was learning what she needed to pursue a more formal career in the future, something that she would achieve a few years later.

She also participated in a singing contest called ”Codigo Fama” and in some talk shows of the famous host Monica Zeballos on gifted children on Univision.

After completing her education, Laura moved to the United States when she was 17 years old, since she had many relatives living in California and already planned to move there at some point. That is how she, her parents and sister had been getting all the important immigration paperwork done for about ten years until they met all the requirements to be able to travel. In that state, her aunts, uncles, cousins and grandparents were already waiting for her and welcomed her immediately after arriving in the country.

Laura and Ray — Uncle Ray and Laura Bravo from the duo Laura & Ray

Current groups

Laura is currently involved in a cumbia band known as La Explosiva Sonora MX, with which she recently played at Giants Stadium in Oracle Park while supporting her local baseball team. The band also has a large presence at events and private parties where it makes attendees dance to their happy and catchy tunes.

In addition to that, she also has her own acoustic duo called Laura and Ray, a project she has with her uncle for the past two years. With him, she has taken over the Summer Nights and Orchard Days at the famous Filoli Country House.

All this without mentioning that he has also been collaborating with the orchestra VibraSÓN for some time with great musicians such as Jake Jacobs, Manny Martínez, Luis Morales, Carlos Caro and many others.

Marco Diaz Y El Tren

Collaboration between Laura and the group Marco Díaz y El Tren started thanks to a mutual friend, percussionist Julio Pérez. Marco Diaz and Laura coincided in the same orchestra and he invited her to sing with his own band in a small concert at the San Jose Flea Market, which represented a first test for her in the group and was very successful.

The singer says she has so much fun playing with the guys, which she considers a very important part of the work she is doing with them. ”The guys are all extremely professional and it is an honor for me to be able to share this experience with them. I always learn a lot from Marco Diaz, Saul Sierra and Julio Perez’‘ said Laura about Marco Diaz and El Tren.

Although Diaz, Sierra and Perez have been playing together for many years and Laura was the last to arrive, they have all been able to mesh with each other without any problems and hope to stay together for many years to come.

Laura and Marco Diaz — Laura Bravo playing with Marco Diaz Y El Tren

The NAAM Show

Laura discovers her participation at The NAAM Show as a wonderful experience. At the time, she was collaborating with a local cumbia band called Sonora San Jose, which was invited to attend the event in the 2022 edition.

She says it was not easy to get to the event venue and she and her colleagues stayed in an Airbnb during those days. She remembers with a laugh how she would wake up the other guests with her vocal warm-ups very early in the morning to be ready for the show.

Sonora San Jose was the first group to perform at 11 a.m. and its members shared with many other very professional musicians from whom they learned a lot.

Genres Laura has worked with

Laura is well known for working with salsa, merengue, cumbia, rock, pop and many other Latin genres. The reasons why she has been so concerned with covering many genres is that she likes to nurture from the energy of all kinds of people and reach as many audiences as possible.

”I’ve been a person who has said yes to many things. Whenever the opportunity to learn a new genre presents itself, I take it without thinking” says Laura about her musical styles.

Laura Bravo is an artist who is always open to try new things and does not limit herself to what she already knows, which has been a big part of the key to her success. It is a pleasure to have talked to her and we invite you to listen to what she has to offer in all her projects.

Laura at The NAAM Show — Laura Bravo at The NAAM Show

Tony Succar Releases “Me Enamoro Mas De Ti” Featuring Jean Rodriguez

Europe / France / Bahrain

Miami, Florida February 20, 2018: Tony Succar announces the release of “Me Enamoro Mas De Ti “ (I Fall More In Love With You) featuring Jean Rodriguez, adding another song to his ever-growing list of new flavors that are defining salsa-infused pop music.

Jean Rodriguez - Unity by Tony Succar - Concert Arenes Fes Tempo Latino — Jean Rodriguez – Unity by Tony Succar – Concert Arenes Fes Tempo Latino

The powerful combination created when these two work together has been a consistent formula for viral success. When Tony Succar and Rodriguez combine their talents, it’s a concoction of tropical goodness that has their fans loving their groove. The single is available now on iTunes, Amazon, and Spotify. And, you can view Tony’s infectious “Me Enamoro Mas De Ti“ music video here.

“Me Enamoro Mas De Ti” is part of a follow-up project to Succar’s UNITY album, The Latin Tribute to Michael Jackson that hit #1 on the Billboard Tropical Album Music Chart, iTunes’ #1 World Latin Chart, and Amazon’s #1 Latin Pop Music Chart.

It was that collaboration of Universal Classics and Universal Music Latin Entertainment that landed Succar a nationally televised primetime PBS special. Inspired by what Succar refers to as the “Unity Sound,” his production of “Me Enamoro Mas De Ti” merges the unmistakable driving elements of Salsa with Pop.

It’s a blend of multi-cultural roots that results in a characteristic, retro sound with a full horn section, Latin rhythms and inspired vocals. This is Succar’s always-fresh approach of cleverly combining pure Salsa with super hip, funky and pop musical elements.

Tony Succar escalated to the top of the charts with Unity, but now it’s clear that Unity was only the foundation of his full vision.

“Many people have been asking me what would come after ‘Unity,’ or ‘when is Unity 2 going to be released?’ Fans have also asked when I would release some of my original compositions. The success of Unity really took my career to another level, and from that was born a new sound that I wanted to stick with.”

“So, I decided now is the time to hit the refresh button and surprise people with brand new material. This track is just the beginning. I won’t stop writing new arrangements of the amazing songs of Michael Jackson and other legendary artists I admire, but I love to create, captivate, and innovate new music.”

With that, “Me Enamoro Mas De Ti” is just a taste of what Tony Succar has on the horizon. Make no mistake, Succar is committed to the essence of tropical music that catapulted him to how far he has come. It runs in his veins and he is devoted to creating new sounds without losing the very core of what the great Salsa artists who came before him produced.

Tony Succar’s production of “Me Enamoro Mas De Ti” was co-written with Jorge Luis Piloto. Piloto has written hits for great artists such as Gilberto Santa Rosa, Victor Manuelle, Tito Nieves, Celia Cruz, Christina Aguilera, Olga Tañon, and many others. His prolific career also includes having led Sony’s Latin division and winning ASCAP’s Latin Songwriter of the Year award.

Tony Succar has been traveling a lot and performed at the Tempo Latino Festival Scène des Arènes in Vic-Fezensac, France and was a part of the amazing lineup of featured artists at the Desert Beats Music Festival in Bahrain. Succar and Unity; The Latin Tribute To Michael Jackson, shared the stage with Kool and The Gang and UB40, among others. You can see where Succar is headed next on his calendar.

Me Enamoro más de ti - Tony Succar — Me Enamoro más de ti – Tony Succar

Tony Succar has also collaborated with Latin Percussion (LP) Music to develop a “Tony Succar Signature ‘Unity’ Peruvian Cajon,” available in stores beginning in April. Just another indication of where the Peruvian-born musical talent’s heart lives.

Download “Me Enamoro Mas De Ti” here: http://smarturl.it/MeEnamoroMasDeTi

WEBSITE: http://tonysuccar.com/

Contact: Nurby Lopez – Mixtura Productions 305-771-1014 [email protected]

Video For Single “Me Enamoro Mas De Ti” Click to watch: https://youtu.be/qQkS-1DDcJM

Swedish dancer Molly Hagman made it in Europe and now in New York

Undoubtedly, Latin music continues to enslave hearts around the world and the protagonist of this story is a reliable proof of it. It has been such a great honor for us to have known the story of Swedish professional dancer Molly Hagman, who has shared with us the most important facts about her career and how she has reached the point she is at today.

How Molly became interested in dancing in her home country

Nice and jovial Molly was describing in detail everything she has done in her career, thus answering most questions we had for her. She began by telling us that her dance studies began when she was still very young. Being only 15 years old, her best friend at the time convinced her to enroll in the Malmoe Dance Academy in the Swedish city of Malmö, to learn from instructors who introduced her to genres such as jazz, hip hop, contemporary music and ballet.

Two years later, when she was sufficiently prepared, she began experimenting with salsa and auditioning for women’s dance teams, one of them being the group Bellasitas, Molly and Maddy being the first two original members. Once the team was complete, they began to perform in congresses throughout Europe such as the Berlin Salsa Festival, the Hamburg Salsa Festival, the Copenhagen Salsa Festival, the Stockholm Salsa Weekend at the Capitol Stockholm in Sweden, the Scandinavian Salsa Congress, the Love Dance Festival, among many others.

Activity outside Europe

By the year 2014, the young woman studied a year of commercial dance at the International Dance Academy in Copenhagen, Denmark. As part of her education, she was able to travel to Los Angeles to train at the Millenium Dance Complex studio, where she remained for about three months and shared with some of its choreographers such as Gustavo Vargas, Jojo Gomez, Yanis Marshall, Tricia Miranda and many more. That time was enough for her to know that her destiny was the United States and that eventually she would like to live there. And she did.

Molly at the Malmoe Dance Academy — Molly when she was studying at the Malmoe Dance Academy during her teenage years

Some time later, more specifically in 2016, Molly moved to New York to study dance at Broadway Dance Center and the possibility to meet the best salsa instructors, many of whom were in that city. It is there where she made contact with Franklin Diaz, with whom she was dancing for a few months in a number of events, until joining the Yamulee Dance Company in the Bronx. She danced for that dance company for about six years, that is, until the year 2022.

During her time with Yamulee, she was able to participate in all kinds of events all over New York, Florida, Trinidad and Tobago and other places.

It is during this time that her passion for Latin music developed even more, since practically those whom she interacted with listened to salsa, merengue, bachata and reggaeton and the great majority of Yamulee’s members were Dominicans who gave much importance to their heritage. As mentioned before, Molly had already had contact with these genres, but this constant exposure only reinforced her decision to continue along this path.

Solo career

In 2022, Molly felt ready to start her career as an independent dancer thanks to all the training previously received. Since then, she has worked with her current dance partner ”Vittico La Magia” with whom she has performed in numerous festivals such as the New York International Salsa Festival in 2023 and 2024, the BIG Salsa Festival in the same years and the New York SBKZ Congress last year.

Molly in Harlem — Molly posing for the camera in the Graffiti Hall Of Fame, Harlem

She also told us that she was starring in the official music video for the latest song my Thalia and Los Angeles Azules – “Yo Me Lo Busque” that already has over 1.2 million views after being out for only 5 days! What was an incredible experience and dancing for such big artists. Similarly, she has participated as a dancer for several concerts by Dominican artist Yiyo Sarante in New York and New Jersey before thousands of people who enjoyed her great talent. She also danced with Grupo Niche and La India in some of their shows.

Additionally, she has been interviewed by important shows such as The Art Of Fashion TV, which was broadcast through the Manhattan Neighborhood Network and exposed to millions of viewers, giving Molly the opportunity to make herself known to a much larger and diverse audience.

Her role as a dance teacher

Molly has been teaching dance since she was in Sweden on some occasions, but where she further gained experience was in New York, which is when she has developed all her skills through the private lessons she today offers. She says that this is an area of her work that she really enjoys very much because it gives her the opportunity to teach other young people what she herself learned at the time and this satisfies her enormously. The need to create a new choreography for each class invites her to be more creative and to keep the interest of her students with new dances in each session.

Ms. Hagman has also completed with Malmoe Dance Academy’s professional dance teams on the Swedish national talent competition “TALANG”, (“This is Talent”) where she and her team won First Place. Talang is the Swedish reiteration of the Got Talent series. Talang features singers, dancers, comedians, variety acts and other performers competing against each other for audience votes and prize money. It’s a nationally recognized dance competition which was broadcasted on Swedish national television and to viewers around the world.

Molly at the fashion week — Molly modeling at the New York Fashion Week

De Tierra Caliente founder Bronson Tennis talks about his career and band

There have been many American musicians who have fallen to the charms of Latin music, which is a practically inexhaustible source of genres allowing them to experiment with in many ways. One of them is Bronson Tennis, with whom we have been fortunate to talk about his interesting career and current musical group, De Tierra Caliente.

Bronson playing — De Tierra Caliente founder Bronson Tennis playing the guitar

Bronson’s beginnings in music

Bronson Tennis began to put his eyes on music when he was just a child, when he was very attracted to the 1990s alternative rock movement in the United States. When he was only 11 years old, his parents bought him his first bass guitar and later he also wanted to learn to play the guitar and sing.

In family matters, Bronson and his three brothers are musicians and several of his cousins and uncles have also been musicians. In addition, his mother was a fine artist and his grandmother was an art teacher.

Both in school and church, the boy always chased opportunities to sing and show his vocal skills to anyone who wanted to hear. He also took advantage of all these spaces to learn as much as he could about music until he was old enough to exercise it professionally.

Today, his main instrument is the guitar, although he also plays the cavaquinho (an instrument of Portuguese origin which is widely used in samba) and the roncoco, which is an adaptation of the Andean charango that he uses to play salsa and Cuban son.

Bronson posing for the camera — Bronson Tennis playing the guitar while posing for the camera

Professional debut in music

Bronson also told us that he began his career path as a bassist and chorister in several musical groups in the city of San Diego between 2006 and 2009. He then spent some time in Philadelphia, where he also played with other bands from a variety of genres.

It is interesting that he lived in Buenos Aires, Argentina, where he also worked as a bassist and singer in some bands. In fact, in that same country, he helped form a Caribbean funk band in which he learned a lot about these genres so foreign to what he played in his childhood and youth. He stayed about four years in Argentina, specifically between 2009 and 2012, until he moved to Brazil for about six months to continue learning more and more about Latin music, but it was not his last stop in South America, as he was also in Colombia for a while more.

Following this, he returned to Philadelphia and decided to form his own orchestra which he named De Tierra Caliente.

Prior to De Tierra Caliente

When Bronson returned to Philadelphia, he had the chance to meet some musicians from the Puerto Rican music scene in that city and saw that they had similar outlooks on music, so they got back in the saddle to prepare a formal project amongst themselves.

The artist assures that it was in Argentina where he learned what it takes to move forward with his band. ”Argentines are people who do everything with strength and confidence, whether in music or in soccer. No matter who or what they have to face, as they take on all the challenges with confidence and that is something we could all learn from Argentina.” Bronson said of his stay in that country.

Bronson and his band — (L to R) Papo Buda, Bronson Tennis, Eubie Nieves, Andy Meyer and Steve Cochran

In Brazil, he studied percussion and learned Portuguese, while Colombia taught him to play salsa, champeta, vallenato and many other genres. In short, each country he has visited gave him tools to facilitate his learning in everything about Latin music in various areas.

Precisely thanks to all this acquired knowledge is that Bronson finally felt able to form his own band in 2014 in union with fellow musicians who understood what he wanted to carry out.

How De Tierra Caliente started

Upon his return to the United States, Bronson was very clear that he wanted to incorporate all those elements learned in South America and the Caribbean, but giving them his own touch. It was then that he met conguero Papo Buda, with whom he agreed on much and began the recruiting process for the rest of the musicians.

After that, Bronson and Papo could add more artists to the group, resulting in a fairly consistent group over time. Since its founding, very few musicians have left the band and Bronson and those who remain have an excellent relationship with all of them despite no longer being band mates.

Among his greatest inspirations, Bronson mentioned many artists and groups of various nationalities and genres such as El Gran Combo de Puerto Rico, the Brazilian composer and singer Paulinho da Viola, the group Caribe Funk and many others.

De Tierra Caliente playing live in Yardley

Damian Ballester and the transformations of Cuban Folk Dance

Latin America / Cuba

The relationship of Africa within the musical and dance culture in Latin America is notorious when we see the cultural expressions of the peoples of this continent, it is easy to see how similar they are, the use of percussion is one of the most relevant topics, in itself a mixture of cultural customs, religion, musicality, dance, in itself all the elements of the black race.

America, one of the main destinations of the ships with black slaves from many areas of Africa, caused our culture to be armed with a bit of each custom, therefore, we can say that in America there is a bit of each African people, this relationship of variety of slaves focused on dividing the forces of the race so as not to make it powerful, divided languages, customs, words and religions only left the marginalized population to communicate through percussion, an element that made the system improve at times of understanding within the fences where they lived.

Due to the above, African religions and customs are born in Cuba but, adopted by those already existing on the island, this combination gives us a rich variant of movements from three continents, Europe through Spain and Africa in all its splendor.

To clarify some topics of the folklore of the Caribbean island and its current dance transformations, we had to contact a great teacher, Damian Ballester, director of Iya Aye, one of the best folklore groups on the island of Cuba, to speak with this professional of the dance is necessary if we want to obtain real information about Cuban traditions, a great teacher who has left his teachings in many Spanish-speaking countries, among which Venezuela, Colombia, Ecuador, Mexico and now in the United States stand out…

we begin by greeting him and opening a pleasant conversation, to which we got an original response “Greetings acere, what was it”, calling him opens up a range of questions on the subject in question, here is an extract of the most common doubts generated around the relationship with salsa, its festivals and diffusion in the world.

Greetings Prof. Damian, grateful for your receptivity, we want to give information to our readers about the relationship of Cuban folklore within our world, Salsa, to begin with, what is defined as Cuban Folkloric dances?

Grateful for the opportunity and sure, that if we report on the case, folk dances are nothing more than the set of cultural goods or phenomena that constitute a cultural complex with manifestations of all aspects of popular life. It is the sum of the manifestations acquired by experience, by inheritance, by tradition, by the satisfaction of biological or sociological needs, among other things. This lasts through several generations and almost always undergoes transformations.

They will get compound terms in the word folklore, which speaks of people or people, popular knowledge, together with the popular knowledge of the people. It is a very long topic, because I should talk about so many things about my culture, better let’s leave the definition until here and thus add flavor to the interview.

Much better, we continue then, do African dances have any impact on Cuban folk dances?

Yes, of course, it is the root, the exercise of dance has always characterized my land and has suffered the same processes of contagion and transculturation between the ways of dancing of the colonizer and the styles introduced by African ethnic groups since the 16th century, in fact, the colonizers brought romance, active in the Cuban countryside for several centuries, with its couplets and their ways of singing and founding alegrías, while the black slaves included their ancestral rites, their drums, and their particular sense of rhythm and movement. bodily.

Given this brief explanation, we can say that not only dances of African origin contributed or influenced Cuban folklore, we can say that there is also an incidence from Spain, France and the Caribbean, but its main axis was born from the Spanish and the African.

We know the extent of Cuban folklore, for how long should a person prepare to be called a professor in this branch?

First of all, to carry the name, whether it is a teacher or instructor of Cuban folklore genres, there are two factors that are very important, the first is study, since Cuban folklore is made up of a very wide range of genres divided into different styles, I could mention some examples: Peasant, popular, Afro-Cuban and Franco-Haitian folklore.

Within the styles of peasant folklore, examples could be given of the Cuban zapateo, the ripiado parakeet, the chidonga, the hawk, the caringa, the son montuno, among others.

Within the styles of popular folklore, the Complex of the rumba, the mambo, the chachachá, the danzón, the dance, the pilón, the congas and the comparsas, the casino can be mentioned, within the Afro-Cuban folklore the Bantú cycle can be mentioned, the Yorubas, the Arara, the Abakua, within Franco-Haitian folklore we can mention the French tomb, the Haitian merengue, the gaga, the vodu among others, if I continue we will not finish today. (laughs to close)

Of the folkloric dances, which are the most outstanding or spread worldwide?

It could be said that there are several, examples are the popular folkloric ones, one could say the casino, the mambo, the chachachá, the son, the rumba complex, that the latter people tend to say are African or Afro-Cuban dances, that have African influence does not mean that they are classified within Afro-Cuban dances because this genre emerged in Cuba, was used as an object of protest against the government of that time and was eradicated in the essence of Cuban. In the same way, the one that has had the most impact and remained in the whole world are the Yoruba dances or dances of the orishas.

Should we open another interview to just talk about the many genres that the island embraces, what institutions correctly form the folkloric traditions in Cuba?

There are many institutions in Cuba, from the community point of view what is named in Cuba as amateur dancer are the community projects and actions that are nothing more than groups created in the communities, all of these supervised technically and methodologically by specialists from the houses of culture of each area by provincial and national methodologists governed by the Ministry of Culture.

From a professional point of view, there are art schools such as the ENA (NATIONAL SCHOOL OF ART) and the ISA (SUPERIOR INSTITUTE OF ART) all governed by a logical curriculum organized by specialists and connoisseurs of the genres.

Other institutions that could be mentioned, is the little school of the national folkloric group of Cuba with 56 years of creation in charge of rescuing and safeguarding the traditional Cuban musical and dance traditions.

Wao, Enough, Do you know if there is any similar institution in the world?

In the world there are countless schools that are training dancers with the Cuban style and technique, whether they are Cuban or foreign teachers, but nothing like the preparation of art schools in Cuba that work with a logical and well-prepared program, in some schools around the world it could be said that they do not work under a logical methodological program for the teaching of these genres due to the commercial and monetary part, unfortunately there are many dedicated to commerce, to money and not to the necessary dedication.

This dissemination has been achieved while respecting the roots and traditions of the farmers? The root? The original essence?

Unfortunately, it could be said that a good diffusion of Cuban genres worldwide has not been respected or achieved, of 100% of the performers, it could be said that only 10% are protecting Cuban traditions, it is sad to say, but trade and populism it is destroying the folklore of an entire country.

Have these changes in traditions positively or negatively impacted Cuban culture?

First of all, traditions do not change if they are not passed down from generation to generation. In terms of their impact, I see it negatively because the dissemination that is taking place is incorrect and worst of all, there is no organization, which was of Cuba, can follow up on the program that is being given to Cuban genres, in itself, many see the commercial and hence they do not care about the poor distribution of what is taught.

What is the reason that so many dancers seek to perform Cuban dances? It is notorious to see it at festivals and congresses.

There are two very important factors: 1 Cuban music, which has been evolving in an incredible way, fusing Cuban rhythms within its repertoire, and the other factor is not because I am from Cuba, Cuban folklore could be said to be the most complete genre available. world level from the point of view of dance, is that it has a history, virtuosity is varied, it could be said that it is well complemented, due to its complexity and interpretive difficulty, it is what attracts attention, additionally, salsa comes from us, from these roots is born what now wants to be denied.

Teacher and the Cubans? Have Cubans spread their dance correctly?

It could be said that the vast majority of Cubans have disseminated the genres well, why do I say that the vast majority?

Because there is another small group that deforms it, money changes everything, foreigners think that all Cubans They dance, it has happened that they say Cuban and quickly you think he is a dancer, he knows everything, he is good, and no, that is not reality, one thing must be clear about being an opportunist, not a dancer, being a dancer by hobby and another is being one by profession or for being a teacher.

There are Cuban teachers who are hurt by the deformation that is happening with what has been studied so much, but there are others who only care about getting paid and do not care if their students do it well or badly.

How has the interpretation of Cuban roots impacted the so-called Salsa Casino in the world? Has the original and real spread of traditions been respected?

Look, since Cuban music began to evolve inside the casino, it began to undergo a series of transformations from movements to choreography due to the musical style that Cuban orchestras began to spread, known as TIMBA, which was well accepted by the public, If we talk about the impact from the traditional point of view, it could be said that there is no original interpretation of the Cuban roots because they are not executing a specific traditional genre, but rather what they are using different styles of the traditional folk dances that all this could be called Variety.

Have Cuban music and dance festivals or congresses devoted time and effort to improving these transformations? Have they worried about minimizing the damage?

In most cases, very few, first of all, if it is a competitive event, the organizers make the mistake of hiring unqualified personnel to evaluate genres of Cuban origin, and that is where the serious faults come from. There have been cases where there are groups , couples or soloists who perform a good technique within normal limits and the jury evaluates for a taste problem if they see it as beautiful and give it less points, or disqualify it, it is not about beauty, it is about correctness, the organizers should be more careful about these things.

What recommendations would you give to our dancer readers on this controversial topic?

The dancer must be clear about four aspects that are fundamental to his artistic life and entire career: dedication, love of dance and, most importantly, study.

Do only what you love and you will be happy, the one who does what he loves is blessedly condemned to success, which will come when it should come, because everything that should be, will be, and will come naturally.

Let’s spend time respecting the roots and cultures of peoples, and above all, let’s take a good look at who we entrust our desire to learn, there are thousands of ways to learn correctly, everything is in the research, knowing who we contact and why There are hundreds of excellent instructors in the world, not to mention the many means of learning today.

I invite you to learn a little about this and other topics, I have a virtual classroom where I teach a lot of the theoretical and practical content online, I do it through the son rumbero academy and its virtual classroom format, follow the @sonrumbero accounts on Instagram and Facebook.