• Skip to primary navigation
  • Skip to main content

International Salsa Magazine

  • Home
  • Previous editions
    • 2025
      • ISM / August 2025
      • ISM / July 2025
      • ISM / June 2025
      • ISM / May2025
      • ISM / April 2025
      • ISM / March 2025
      • ISM / February 2025
      • ISM / January 2025
    • 2024
      • ISM / December 2024
      • ISM / November 2024
      • ISM / October 2024
      • ISM / September 2024
      • ISM / August 2024
      • ISM / July 2024
      • ISM / June 2024
      • ISM / May 2024
      • ISM / April 2024
      • ISM / March 2024
      • ISM / February 2024
      • ISM / January 2024
    • 2023
      • ISM / December 2023
      • ISM / November 2023
      • ISM / October 2023
      • ISM – September 2023
      • ISM – August 2023
      • ISM July 2023
      • ISM Edition June 2023
      • ISM – May 2023
      • ISM April 2023
      • ISM March 2023
      • ISM February 2023
      • ISM January 2023
    • 2022
      • ISM December 2022
      • ISM November 2022
      • ISM October 2022
      • ISM September 2022
      • ISM August 2022
      • ISM July 2022
      • ISM June 2022
      • ISM May 2022
      • ISM February 2022
      • ISM January 2022
    • 2021
      • ISM December 2021
      • ISM November 2021
      • ISM October – 2021
      • ISM September 2021
      • ISM August 2021
      • ISM July 2021
      • ISM May 2021
      • ISM April 2021
      • ISM June 2021
      • ISM March 2021
      • ISM February 2021
      • ISM January 2021
    • 2020
      • ISM December 2020
      • ISM November 2020
      • ISM October 2020
      • ISM September 2020
      • ISM August 2020
      • ISM July 2020
      • ISM June 2020
      • ISM May 2020
      • ISM April 2020
      • ISM March 2020
      • ISM February 2020
      • ISM January 2020
    • 2019
      • ISM December 2019
      • ISM November 2019
      • ISM October 2019
      • ISM Septembre 2019
      • ISM August 2019
      • ISM July 2019
      • ISM June 2019
      • ISM May 2019
      • ISM April 2019
      • ISM March 2019
      • ISM February 2019
      • ISM January 2019
    • 2018
      • ISM December 2018
      • ISM November 2018
      • ISM October 2018
      • ISM September 2018
      • ISM August 2018
      • ISM July 2018
      • ISM June 2018
      • ISM May 2018
      • ISM April 2018
      • ISM March 2018
      • ISM February 2018
      • ISM January 2018
    • 2017
      • ISM December 2017
      • ISM November 2017
      • ISM October 2017
      • ISM September 2017
      • ISM August 2017
      • ISM July 2017
      • ISM June 2017
  • Download Salsa App
    • Android
    • Apple
  • Spanish

Search Results for: music

Four nationalities united in Ladama

Talent can come from the most amazing and unexpected origins and more when we are talking about music, a branch of art from which always emerges people with a lot of potential who can completely break our schemes. This leads us to introduce the topic of a group of four young musicians and singers who joined their skills despite their apparent differences. They are the musical group Ladama.

Ladama is an alternative Latin music band composed of four members of different nationalities: Venezuelan Maria Fernanda Gonzalez, Brazilian Lara Klaus, Colombian Daniela Serna and American Sara Lucas. 

Three of the four members of the group spoke exclusively with International Salsa Magazine and this report will show some of the topics covered during this pleasant conversation. 

Sara, María, Lara, and Daniela from Ladama
From right to left, Sara Lucas, María Fernanda González, Lara Klaus and Daniela Serna

Origins of Ladama as a group 

The conversation was started by Lara and Dani, who explained a bit about the rise and concept of the band. The group was created in 2014 while the girls were doing an artistic residency known as OneBeat, which was sponsored by the U.S. Department of State. They were selected to represent their respective countries, which led them to socialize with each other and discover the great chemistry between them because of the language and genres they played. 

Since OneBeat was an initiative towards cultural exchange between artists and offered the necessary technical equipment to record music, they took full advantage of this space to get to know each other’s styles and see what they could do together. 

Once the month-long residency was over, each went their way, but they kept in touch via Skype a year after having met. The motivation to create a project that would encompass a musical band and teaching classes to minority communities remains intact.

They wanted to create an initiative in which community, creativity, social impact and cultural exchange would be the fundamental pillars of Ladama. It was always clear that they not only wanted to make music, but also do something that would positively impact upon society and they think they have succeeded so far. 

As for the name Ladama, it is simply a combination of the first two letters of the names of each one: ”la” comes from Lara, ”da” comes from Dani and ”ma” comes from María Fernanda. At the same time, ”La dama” in Spanish means ”The lady”, which also refers to the fact that it is an all-women group.

Ladama in a residency called OneBeat
They first met in an artistic residency known as OneBeat

How did these different origins coexist in Ladama? 

We were very impressed by the fact that all Ladama members came from different countries, so we wanted to know how this impacted the group. Lara answered that the only thing they needed was the desire to play together and move this initiative forward, which means that the origin of each one was not a problem to found the group.  

Just like every other band, each one had her own ideas and they discussed them together to know which one to choose or not. 

Their major test was given during the Rec-Beat Festival in Brazil. They arrived only a few days before the event, so they could barely rehearse and set up the repertoire. Despite the haste, they feel that everything went very fluidly, as they spent time meeting with each other and writing some songs for an occasion like this.

Given that Lara, Dani and Maria Fernanda come from Latin and tropical countries, there are certain rhythms that sound so much alike, which they took advantage of to unify them and create completely new rhythms that sound good at the same time. Lara also pointed out that these mixes are in constant change and they always try not to get stuck in the same styles.  

In addition to that, Ladama has left traditional music behind a little bit and has focused on alternative music and other genres such as pop, soul and R&B. 

Dani addressed the topic of genres by saying that they do not follow a plan in which they have something specific to play or mix. Any of their songs can go from Dominican merengue and Colombian cumbia to trap and reggaeton without any problems. They do not like to limit themselves and always seek to reach all audiences.   

Ladama live
Ladama performing live

Ladama in a Tiny Desk concert series

Playing on Tiny Desk (a series of live concerts organized by the radio program All Songs Considered in the United States) is always a prestige for any artist or group that performs on that platform, which is inviting Latin singers more frequently every time.  

The girls were at a festival in Albuquerque, New Mexico, where they had the opportunity to meet the curator of Tiny Desk, who would invite Ladama to record their session in Washington D.C. shortly thereafter.

Lara considers that this was a great opportunity to spread their work due to the large number of people who always tune in to Tiny Desk, in addition to the many artists they knew after their appearance on the platform. 

For her part, María Fernanda commented that, on that same occasion, they took the opportunity to bring instruments from their own countries so that the Tiny Desk audience could get to know them. She also stressed that this session will be an important audiovisual document for history that will serve as an inspiration for other musicians in the future.

It was a great achievement after all that hard work.

Ladama on Tiny Desk
Ladama performing on Tiny Desk

Music classes for the community

The members of Ladama have also been focusing on music classes for the community at large, mostly in schools and universities. In their four countries, they have given workshops of all kinds related to music in the languages they speak, which are, English, Spanish and Portuguese. 

the artist emphasized that they always try to do this type of activities together in the very countries where they offer live performances. They have total freedom to do things separately, but they prefer to carry out these activities supporting each other.

Although they offer classes to anyone who is interested, Latino children are a very important group for Ladama, as many of them often have some problems of identity and adaptation to the United States. When they arrive at school in this country, they often disguise or even hide their Latino roots in order to fit in with their peers, so these classes are an opportunity for them to reconnect with that identity they begin to leave behind. 

These workshops and classes also serve as additional income for the group, as they can not only support themselves through tours and festivals. These educational activities are another way to diversify their earnings and have more stable inflows of money.

Read also: Juan Antón ”El Blanco” from La Clave Del Blanco

Legacy of the Cepeda family after eight generations

As all our readers may know, this is a space devoted entirely to the promotion of salsa and other derivative styles, but that does not mean we should leave out other Latin genres that also deserve to be promoted and recognized worldwide. Such is the case of bomba and plena, which we are going to talk about in the next lines.  

Bomba and plena are two Puerto Rican musical genres that initially became popular at the local level, but little by little, they have received international notoriety thanks to certain groups of Puerto Ricans who have devoted considerable effort to take their culture to as many places as possible in the world. This is how we get to the theme of the Cepeda family and all that its members have done for bomba and plena.  

Bárbara and Margarita
Bárbara Liz Ortiz Sánchez and his mother Margarita ”Tata” Cepeda

The Cepeda Family  

The Cepeda family is a cultural institution that has been given the task of promoting bomba and plena for eight generations, so that they can be heard and danced all over the world. Don Rafael Cepeda Atiles, a professional musician and composer with an extensive career who has left a great legacy thanks to his hard work during his lifetime, which keeps current thanks to his descendants. 

When he married Caridad Brenes Caballero, he involved her in all his artistic activities and became a fundamental support for the musician in his work. The lady became a professional bomba and plena dancer, costume designer, and choreographer, which made her shine with her own light in every project directed by her talented husband.  

During his career, Don Rafael created several musical groups and, over the years, he and his wife involved their children and other family members to collaborate in what would become a renowned family business. 

One of the artist’s greatest achievements was the development of a cultural movement around the rescue and preservation of local traditions related to bomba and plena, which were thought to be lost. He was also decorated with the Smithsonian Institute’s National Endowment for the Arts Fellowship for his contributions to music. 

All this legacy remained in the hands of Don Rafael’s family and one of the first to do something about it was his son Modesto, who founded the Escuela de Bomba y Plena Don Rafael Cepeda in Santurce, Puerto Rico. This institution was created in order to teach bomba and plena in the areas of dance and percussion. 

Those who would follow these steps would be Margarita ”Tata” Cepeda, granddaughter of Don Rafael and Caridad, and Barbara Liz Ortiz Sanchez, great-granddaughter of Don Rafael and Caridad. Margarita currently runs the Escuela de Bomba y Plena Doña Caridad Brenes de Cepeda and her daughter, Barbara Liz, runs the Escuela de Bomba y Plena Tata Cepeda in the state of Florida. It was precisely the latter with whom we had the pleasure to talk about this project and the plans she has for the future.  

Bárbara and her bomba custome
Bárbara Liz wearing her bomba attire

Barbara Liz from the Escuela de Bomba y Plena Tata Cepeda 

Barbara Liz belongs to the seventh generation of the Cepeda family and her children, who also dance bomba and plena, would belong to the eighth generation. She says that each family member has tried to endorse Don Rafael’s legacy in their own way. In her particular case, she has spent five years running the Escuela de Bomba y Plena Tata Cepeda in Florida, which she decided to baptize with his mother’s nickname, which is Tata, to pay tribute to her in life.   

Although the operation of her school and his mother’s are different, they usually work together in cases that require it. For example, if for some reason a student cannot pursue his education here because he is going to Puerto Rico, he can continue studying at the school located on the Island of Enchantment without any problem.   

”We didn’t have a curriculum or educational program to follow to teach bomba and plena, but my mom was responsible for creating one so that we could teach dance and percussion with a clearer methodology,” said Bárbara Liz. 

As a result of Hurricane Maria, many Puerto Rican families went to live in Florida due to the loss of their properties and material things, so the students of the school in Puerto Rico became able to enroll in the Florida school instead. It can be said that they are sister schools working together towards the same goal.   

Percussion and dance in bomba and plena  

Something Bárbara Liz wanted to highlight about this point is that many girls are enrolling in her school to learn to play percussion, something that did not happen very often. 

At other times, it was believed that percussion in bomba and plena was exclusively for men and dance for women. In more conservative versions of these genres, women only sang and men were responsible for dancing and playing instruments. 

That has been changing over time. Nowadays, there are many guys who are setting their sights on dancing and many girls are having an interest in the percussion part. Every day, the female part is becoming more and more relevant in the different areas of bomba and plena.  

In addition to all this, the institution’s teachers also teach quite a bit about the emergence and history of these two genres, so that their students are not just dedicated to playing and dancing, but also know the origin of everything they learn now.   

Differences and similarities between bomba and plena 

When we wanted to know a little about the differences and similarities between bomba and plena, Bárbara Liz explained to us that both genres were very different from each other. The rhythms, the instruments used and the ways of dancing have many differences in both.   

In the case of bomba, this is the oldest musical genre and dance in Puerto Rico and is born from a barrel-shaped instrument, which is one of its most representative elements. It is also known as the ”first sung newspaper”.  

Similarly, it is the dancer who sets the pace for the percussionist, not the other way around. The musician should be guided by the footsteps of the dancer, which often gives rise to completely new rhythms.   

Plena was born a few years later with certain variants of bomba and is called the ”second sung newspaper”. It was plena that inspired several of the Cepeda family members to create their own groups such as the Grupo Gracimá (a variant of bomba), which originated in the school owned by Margarita in Puerto Rico.  

In contrast, Bárbara Liz named her professional group Kalindá in honor of one of the most popular variants of bomba. 

Bárbara and Kalindá
Bárbara Liz and her professional group Kalindá

Tributes 

Something that makes Bárbara Liz very proud is that both she and her mother had the opportunity to go to the Smithsonian National Museum in March to pay tribute to their ancestors and the genres that her great-grandfather promoted so much in life. 

At the time, Don Rafael donated some items related to bomba and plena such as barrels, a güiro and barrels However, some bomba costumes were missing to complete the collection, which were given by Bárbara Liz and Margarita to be exhibited in the institution, so anyone interested in learning more about Puerto Rican genres and musical culture can visit the place and cherish these valuables. 

Read also: Yani Borrell ‘‘El Elegante de La Salsa”

José Hildemaro Hugas Amarista “El Sonero del Amor” from Venezuela to the world

José Hildemaro Hugas Amarista, better known artistically as “Hildemaro, El Sonero Del Amor”, was born on November 10, 1957 in Caripito, a city in the eastern Venezuelan state of Monagas.

He is a Venezuelan singer-songwriter whose interest in music began at a very young age, participating in various children’s programs on the radio station in his hometown and in Maturin, the capital of the state of Monagas.

In 1970 he won the first “Festival De La Canción Inédita” held in Caripito.

Then he moved to Carúpano, where he began to sing with different musical groups of that city, such as “Los Bravos” and “Soles De Media Noche”.

"El Sonero del Amor" from Venezuela
“El Sonero del Amor” from Venezuela

Later he was called by the “Combo Melorítmico” of Maturín, where he stayed for a year. He always wanted to sing in the capital.

In 1976 his dream came true when he was called to be a part of the Front Train Orchestra “Los Satélites”, for seven (7) months, the proposed goals began to be different and began to work to achieve them. In 1979 he joined the “Orquesta Ideal”, with which the song “Contigo Besos Salvajes” was played all over the country and was successively imposed among the first places.

In 1981 he joined the “Supercombo Los Tropicales” of Maracaibo, then the “Noche Caliente” orchestra and later the “Porfi Jimenez” orchestra.

In 1985 he joined the orchestra of Renato Capriles: “Los Melódicos”, which gave him the greatest and best experience, given the popularity, prestige and discipline imposed by its director.

In 1986, as a soloist, he recorded his first LP of tropical music under the name “El Jr. de la música tropical” for the record label “Sur Americana del Disco”, , with the name “El Jr. de la música tropical.”

In December 1987 he received a wonderful offer from the record label “Top Hit (T.H.. ) and in 1988 he records his first LP, as a “sensual salsero” for Venezuela, titled “Amanecí Contigo” under the pen of José “El Flaco” Bermúdez, who is also the creator of the style that pushes him towards the international market, where all his songs hit with great acceptance and have his greatest impact in Peru (his second home as he usually calls it), starting his successful career as “Hildemaro, El Sonero Del Amor”.

José Hildemaro Hugas Amarista "El Sonero del Amor" from Venezuela to the World
José Hildemaro Hugas Amarista “El Sonero del Amor” from Venezuela to the World

In 1989 he recorded his second LP entitled “Sin Tabú”, which went gold a few weeks after its release, and this album took him back to Peru, where he is considered one of the main idols of Salsa Sensual. Panama, Mexico, Colombia, Ecuador, Argentina, Chile, Dominican Republic, Puerto Rico, Costa Rica, United States, Europe (Spain, Italy, France, Holland, Switzerland, among others), Asia (Japan), among many other countries, have joined his successful career.

In 1990 he recorded his third album called “Romantic and Sensual”, consolidating himself as one of the best voices of Latin American and Caribbean Salsa, qualities that were also reflected in his fourth production entitled “Lo Mejor De Mí” in 1991.

In 1993 he recorded his fifth album under the name “Al Natural”.

In 1994 he was invited to participate in the recording of the album “Con Ganas” by the Cuban Issac Delgado, where he performed a duet of a song composed by José L. Cortes called “Que Pasa Loco”, which quickly became an international success and took him to other latitudes.

In 1995 he released his sixth production with the title “Lo Que Siento”. One year later he signed a contract with the Mexican label “Balboa Records”, where he recorded the album “La Mejor Salsa Con Hildemaro”.

"El Sonero del Amor" from Venezuela and Viti Ruiz
“El Sonero del Amor” from Venezuela and Viti Ruiz

In 1999, he was invited by the Venezuelan group “Melody Gaita”, along with other artists, to record a tribute song to his friend and colleague Oscar D’ León.

In 2001, “Orquesta La Constelación” decided to record an album with several artists, in which he participated with two (2) songs (Peruvian waltzes), “Cuando Llora Mi Guitarra”, in duet with Andy Montañez, and “Jamás Impedirás”, which allowed him to sound nationally and internationally.

In 2002, he is called by another Venezuelan group “Pajarito Vola Show”, along with other artists, this time to participate in a well-deserved tribute to Betulio Medina. In 2002 and 2003 he burst in the national and international radio stations with two (2) singles “Corazón Loco” and “El Celular”.

In 2016, he begins to sound again in the radio stations with the song “Que Voy a Hacer Sin su Amor”.

In addition to his talent to sing Salsa Romántica, he is recognized for his interpretation of the Bolero. And on stage he has shared the stage with artists of the stature of: Oscar De León, Tito Rojas, Tito Gómez, Paquito Guzmán, Andy Montañez, Maelo Ruiz, Viti Ruiz, Gilberto Santa Rosa, David Pavón, Ismael Miranda, El Gran Combo de Puerto Rico, Tony Vega, Nino Segarra, José Alberto “El Canario”, among many others.

"El Sonero del Amor" from Venezuela and El Canario
“El Sonero del Amor” from Venezuela and El Canario

Among his many facets is his love for sports, especially volleyball, which he has practiced since he was very young. He is an honorary member of the FUCUFOCA Foundation, which has been responsible for the organization of the Festival de la Canción Inédita de Caripito for fifty-one (51) years. Faithful collaborator of the Friends of Palencia Foundation and sponsor of several institutions.

Through his foundation HH Productions, he has carried out social actions such as Collaboration in the construction of the Virgen del Rosario Church in Caripito;

Donations of medicines and food to the needy, assistance to sports teams with equipment and clothing, organization of charity concerts and support of the “Amigos de la Palencia” Foundation.

Through his foundation HH Productions, he has carried out social actions such as Collaboration in the construction of the church “Virgen del Rosario” in Caripito;

Donations of medicine and food to people in need, help to sports teams with equipment and clothing; Realization of benefit concerts and concerts of popular attraction in collaboration with the end of year festivities of his hometown.

He has always given value to new talents, helping them in their first steps with his advice and teachings, such as Angel “Tu Angel”, Hildemaro Jr. “La Continuación”, Gilberto Hugas, among others.

Between the years 2022 and 2023 he will celebrate his forty (40) uninterrupted years of artistic life, with a long international tour in countries such as: Colombia, Bolivia,

Peru, Panama, United States, Canada and Europe. He is now promoting the songs “Si Tú Te Vas” and “Amigos Especiales” from his new production, which he is preparing with his inseparable director and producer, José “El Flaco” Bermúdez.

 

Also Read: Carlos “Nene” Quintero comes from a family of musical prodigies

Déjalo, the latest track by Pedro Conga y su Orquesta Internacional

The song -composed by Pablito Ruiz- is catchy and brings us the essential style of the orchestra with the renewed touch added by singer Pedro Blasini.

Pedro Conga y su Orquesta Internacional

Within the first 16 seconds, Rafael ‘Bodo’ Torres on piano and Pedro Perez on bass create a lively and energetic musical introduction, perfectly arranged by Roberto Perez.

Pedro Conga y su Orquesta Internacional photos by Adriana Vega
Pedro Conga y su Orquesta Internacional photos by Adriana Vega

Twenty seconds after the melody starts, Pedro Blasini’s voice enters accompanied by the timbales in a hushed tone.

Through this recording, Pedro Blasini establishes himself as the lead vocalist of the International Orchestra of his uncle, the notable percussionist: Pedro Conga.

The arrangement combines musical intricacy with the required flexibility to captivate listeners searching for love dramas in the salsa de golpe scene.  And when it comes to beats and cuts, within the first ten seconds of the opening minute, Jan Duclerc’s unique trumpet cut fuses seamlessly with Pedro Conga’s tumbadora, creating the perfect harmony to complement the lead vocal.

At the 1:30 mark, José Joel Díaz introduces his timbal cymbal with subtlety, underlining the prominence of the conga.  Raúl Díaz’s bongó delivers consistent accompaniment, providing a masterclass in both rhythm section perfection and percussion timing.

Pedro Conga y su Orquesta Internacional
Pedro Conga y su Orquesta Internacional

From the 1:40 mark onwards, the harmonies of Charlie Cruz, Nino Segarra, Alejandro Villegas, and Blasini himself shine.

At minute 2:34, “Bodo’s” piano collaborates with Pedro Perez’s bass to demonstrate their musical partnership, resulting in exceptional musical performances.

The vocalist harmonizes well with the tumbadora, as the drumbeat establishes its presence from the very first minute and gradually intensifies until, during the lead-up to the third minute of the song, the coordination between the lead’s tumbadora and Héctor Morales’s trombone unequivocally proves that (as they say in Puerto Rico) “there is no one for anyone.”

It is clear that there are no bounds to the experience and innovation behind the musical production led by Julio “Gunda” Merced, Rafael “Bodo” Torres, and Santo Santiago.

Pedro Conga, a Puerto Rican musician, displays his exceptional talent through his music.

Pedro Conga
Pedro Conga

He was born in Humacao, Puerto Rico. He explains that he received the pseudonym “Conga” during the years he spent accompanying Justo Betancour. Betancour bestowed the name upon him due to his prodigious talent on the congas. Pedro “Conga” subsequently established himself as a master, doing invaluable work in fostering the growth of SALSA. His orchestra was privileged to welcome vocalists of the highest caliber, including:

He carried out this mission with unmatched finesse and superior quality.

Anthony Cruz, Tito Rojas (“El Gallo de la Salsa”), Ismael Ruiz (“Maelo”), Rafy Cruz, and Edgardo Diaz.

Among his songs are “Pienso en ti,” “Tú me niegas tanto amor,” “No te quites la ropa,” “Quiero volver,” “Te quiero amor,” and “Si supiras,” among others that have become salsa classics.

The productions he created with his orchestra achieved great success not just in Puerto Rico, but also in the United States, Europe, Colombia, Venezuela, Panama, and Peru.

Furthermore, he has received international acclaim for his productions due to the versatility and freshness showcased in each album.

Pedro Conga is renowned in the music industry for his ability to blend rhythm, flavor, and emotion into a single composition.

Bella Martinez Puerto Rico

Also Read: Ray Barretto Giant Force y A Conguero’s Conguero

[Read more…] about Déjalo, the latest track by Pedro Conga y su Orquesta Internacional

Latin America / November 2023

Omsling D'Leon November 2023

Hildemaro November 2023

José Alberto "El Canario" and his orchestra enjoy a great international reputation in the Latin music scene"The Sun of Latin Music" the first Grammy Award for Salsa Eddie Palmieri's historic album

Déjalo, the latest track by Pedro Conga y su Orquesta Internacional

Metamorphosis: from music to photojournalism, a reinvention without limits.

Calibrated maracas

DIRECTORY OF NIGHTCLUBS

Argentina flag
ARGENTINA

Aruba circular flag
ARUBA

Belize circular flag
BELIZE

Bolivia circular flag
BOLIVIA

Brazil flag
BRAZIL

Chile circular flag
CHILE

Colombia
COLOMBIA

Costa Rica circular flag
COSTA RICA

Cuba circular flag
CUBA

Dominican Republic
DOMINICAN REPUBLIC

Ecuador circular flag
ECUADOR

Guatenala circular flag
GUATEMALA

Mexico Circular flag
MEXICO

Panama circular flag
PANAMA

Peru circular flag
PERU

Puerto Rico circular flag
PUERTO RICO

Venezuela circular flag
VENEZUELA
NOVEMBER 2023 FESTIVALS

Cuba circular flag
CUBA
Baila en Cuba

Memories Miramar La Habana Hotel

Nov 19 2023 – Nov 24 2023

4H56+4VQ, Quinta avenida entre 72 y 76 Fraccionamiento

Miramar, La Habana 11300, Cuba

Mexico Circular flag
MEXICO
Big Salsa Caribbean

Tijuana Dance Open

BIG Salsa Festival Caribbean Cancun

Nov 02 2023 – Nov 06 2023

368C+H7, km 17, Blvd. Kukulcan, Zona Hotelera, 77500

Cancún, Q.R., Mexico

 

Tijuana Salsa Bachata Kizomba Festival

Nov 09 2023 – Nov 13 2023

Hotel Gamma De Fiesta Inn Otay
Blvd. Tijuana 17226

Tijuana , Mexico, 22430

Uruguay Flag
URUGUAY
USC

Uruguay Salsa Congress

Nov 21 2023 – Nov 26 2023

Punta del Este Convention Center
Av. Pedragosa Sierra esq. Aparicio Saravia

Punta del Este, Uruguay

 

  • « Go to Previous Page
  • Page 1
  • Interim pages omitted …
  • Page 124
  • Page 125
  • Page 126
  • Page 127
  • Page 128
  • Interim pages omitted …
  • Page 269
  • Go to Next Page »

International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.