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PRE-SHOW POST | AFTER-SHOW POST Back in May I deejayed at a popular Cuban party in the Roppongi area of Tokyo. It had been a while since I played exclusively Cuban music, and it was a fun time. My co-DJ was fantastic and kept the bar high, so it was such a wonderful night of Cuban vibes. Feeling inspired by memories of that night, I dip into my archives to build Episode 38 for Encanto Tropical -- Musica Cubana (3) to broadcast on July 11… Image by freepik < NEXT POST PREVIOUS POST >

AFTER-SHOW POST | PRE-SHOW POST Italian salsa was the topic for Episode 42. Featured are several great salsa songs by Italian (or Italy-based) artists and DJs, and joining me for an interview was DJ Francisco Rojos of the Latin web magazine www.salsa.it . Replay at the bottom of this page (2:10:09, 23 tracks). This show ended up being among my most highly anticipated, as it took several weeks to prepare and, in fact, the idea for doing this show germinated over a year ago. This is because it had dawned on me that the musical output in Italy, compared with other countries with a niche salsa scene, seemed to be extraordinary. There was so much action --and talent -- among the high number of Italian musicians and DJs who were making music. Read the pre-broadcast post for more background information on this brief introduction to Italian salsa music. In my research to discover these music makers, I showed a list of names I had compiled to Fabrizio Zoro , the Milan-based DJ, songwriter, music producer, and director of La Maxima 79 . He approved the list but also named another half-dozen people I had never heard of! Later, he introduced me to DJ Francisco Rojos, saying that if I was going to do a show on Italian salsa, he was the man to talk to. As one of the pioneering DJs of the Italian salsa scene, Francisco Rojos has also composed more than 70 songs. Chatting with him and learning about his salsa career then inspired me to go to the next level and invite him as a guest to interview and share his reflections with listeners. Guest Francisco Rojos DJ of www.salsa.it The pre-recorded interview was great fun but entirely in Spanish because like most Italians switching to Spanish is easier than to English. Divided into four sections, the interview is preceded by a 35-minute introductory mix of some of my favourite recently-released salsa tunes from Italy. Then Francisco Rojos shares his thoughts on a few points: a brief background of music production in the Italian salsa scene an example of four salsa songs which originated in popular Italian music an overview of his career three songs he recommends as exemplary of Italian salsa The show flashed by because it was so informative and fun with Francisco Rojos although it is somewhat long at 2 hours and 10 minutes. There was great insight from my guest on a range of topics, and there were many interesting songs I was happy to share. I am amazed at the large pool of Italian salsa songs I had to choose from and, in fact, it is unfortunate that several artists/bands could not be included due to the time constraint; however, this means that perhaps a Part 2 is doable. I hope so - there is so much great Italian salsa! IMPORTANT NOTE I wish to underline that I do not claim to be an expert on Italian salsa. I am just trying to learn more and share my musical discoveries based on the hunch as an experienced DJ (in Japan) that Italian salsa is unique. Furthermore, my focus has been on music production, not on the dancing scene. However, I am open to feedback regarding any omissions, errors, or suggestions, so please contact me; I would love more material for a Part 2. For Italian visitors, I hope this post rendered correctly in translation and this brief introduction and overview are satisfactory. Some of the music on Encanto Tropical 42 ARTISTS Here is a list of artists for the 23 songs played on the Episode 42. Alexio DJ, Marco Puma, Felix Croma Latina DJ Fabrizio & Francisco Rojos DJ Isaia “El Profeta” DJ Lindo feat Valerio El Director DJ Maurizio Doná Don Ruiz Orquesta El Timba Fabio Gianni & Donny Reyes Fabio Gianni & LunaMea Quartet Francisco Rojos & Latin Soul Orchestra Ivan Venot & DJ pepe El Rumbero Ivan Venot & DJ Pippo Il Maltese La Canchanchara La Maxima 79 & DJ Fabrizio Zoro [x 2] Latin Sound Machine Mario Crespo Martinez Massimo Scalici Poderosa Orquesta & Francisco Rojos  Nino Segarra [versión de una canción italiana] Pietro Mingarelli y Su Generation 73 Urbana 22 feat Tony Velardi Valter Paiola Orchestra Full attribution is provided on the show. Note that unlike most of my episodes, commentary was entirely in Spanish -- my apologies for English listeners, but if there are any questions about the song selection or content, please contact me. Replay below. Enjoy! Ciao! REPLAY EPISODE 42 < NEXT POST PREVIOUS POST >

PRE-SHOW POST | AFTER-SHOW POST Coming up is Episode 33 on February 8th where I play from my playlist for next week's album release concert by Son D' K.Libre in Tokyo . For context, this means a Cuban-style session -- with lots of new material -- featuring tracks from Son D' K.Libre's album Lo Que Se Cuenta and from the duo Yacel & Aya Sagarra, since Yacel is the bandleader (guitar, vocals) and his partner Aya also sings for the band. The Son D' K.Libre concert tour includes dates in Hamamatsu, Nagoya, and Osaka, where they are based. It's a thrill for me to support their Tokyo concert as I have known them since their inception ten years ago when I was living in Osaka. So check out this Cuban session on Encanto Tropical! < NEXT POST PREVIOUS POST >

AFTER-SHOW POST | PRE-SHOW POST A 'Cuban salsa' session makes up Episode 38. Click at the bottom to replay (1:58:22, 26 tracks). Episode 38 is the 3rd all-Cuban set in Encanto Tropical’s show list. (See Session 1 and Session 2 ). It includes 26 tracks from a playlist I made for a fantastic gig as guest DJ in May for a Cuban style party at La Tropi Azabu in Tokyo. It was a wonderful time providing the soundtrack with main DJ Baila Aqui while working with the other event organizers (Yu-san and Kazue-san) of ‘Cuba 99%’ to make it a memorable and crazy night of timba, son, and 'salsa cubana'. The bar was packed until the very end and there was a great dynamic with the dancers. Some of the music on Encanto Tropical 38 The show’s length is 1:58:22. Full attribution is provided, including for such artists as the following. Manana Club Lazarito Valdés y Bamboleo Timbalive La Charanga Habanera Sounds of Cuba Cuba Libre Son Band REPLAY EPISODE 38 < NEXT POST PREVIOUS POST >

PRE-SHOW POST | AFTER-SHOW POST Next on Encanto Tropical is a session featuring salsa songs which include the word "vida" in the song title or in the lyrics. My aim is to weave together a collection of songs with poignant lyrics about the wonder, mystery, joy, and pain of.... life . Some examples follow. Cantar es lo mas bonito que he aprendido en la vida La vida hay que pasarle siempre alegre No importa el dinero, no importa el destino Vive la vida y disfruta el camino Ay, Abuelita de mi vida, cómo te recuerdo a ti… Yo te quiero yo te adoro, es que tú eres mi único tesoro A Gozar… que la vida es corta compay Y hay que aprovechar lo que queda de ella para vivir Goza la vida como hago yo Levántate y de cara a tu vida Yo solo vivo mi vida No me importa lo demás La vida no es para llorar, es para reír y para disfrutar La vivo a mi manera, superando barreras La vida es para gozar. Featured bands and artists include: Orlando Marin Salsa Sudada feat. Herman Olivera Orquesta Yare Joe Quijano Cuba Libre Son Band Los Hermanos Moreno Hector Lavoe Justo Betancourt Cesar Concepcion & His Orchestra < NEXT POST PREVIOUS POST >

AFTER-SHOW POST | PRE-SHOW POST Episode 39 features songs which contain the Spanish word for 'life' (vida) in the lyrics. To replay, click on the link at the bottom of this page (1:59:20, 27 tracks). Read about the planning and context of this show in the pre-broadcast post . The session resulted in a good compilation of sayings and observations about life. It was quite astonishing to learn just how many salsa songs include the word 'vida' in their lyrics, so I had no trouble making a shortlist, but this means a Part 2 should be in the works too, then. Some of the music on Encanto Tropical 39 Full attribution is provided on the show. REPLAY EPISODE 39 < NEXT POST PREVIOUS POST >

PRE-SHOW POST | AFTER-SHOW POST Episode 41 will be a tribute to the prolific songwriter Catalino 'Tite' Curet Alonso of Puerto Rico. He composed more than 2000 songs. A list of nearly 600 notable compositions is here . Some of the music on Encanto Tropical 41 I spotlight two dozen of his salsa compositions with some context and translation. This includes a few 'cover versions', or interpretations by artists other than those who made original recordings, and also two songs sung by himself. Source: www.discogs.com ​This is another episode where simple but rewarding research is part of my preparation. As a basic introduction to this important composer, listeners can discover the nature and genius of Tite Curet Alonso from a selection of songs played by a range of singers/musicians, such as Cheo Feliciano, Rafael Cortijo, Ismael Rivera, Willie Colon, and the Lebron Brothers --among others. The song selection aims to deliver a balance between certain salsa 'anthems' and lesser-known material. Background I first thought about doing a show on Tite Curet Alonso while reading the book Salsa Consciente , where his significance as an influential songwriter in the world of salsa was poignantly explained. A related podcast featuring an interview with the book's author, Andrés Espinoza Agurto , highlighted this point while stressing the humanitarian or socially-aware nature of his song compositions. From the start of my budding interest in salsa music as a collector, I regularly spotted the name "Tite Curet Alonso" in the credits on CDs or records. (Some examples of songs that I like are 'Primoroso Cantar', 'Sali Porque Sali', 'El Solitario', and 'Con los Pobres Estoy'). However, I was not aware of his truly prolific nature nor of his contribution to a Latino identity until I read Salsa Consciente. Also inspiring was watching a video in which Ruben Blades talks about Tite Curet Alonso (see below). ------ Further INFORMATION ONLINE MSU Press Podcast: Salsa Consciente: Politics, Poetics, and Latinidad in the Meta-Barrio New York Latin Culture Magazine: Tite Curet Alonso, The Salsa Poet, Wrote Many Salsa Hits, But is Not Credited PR Sun Communications: Catalino “Tite” Curet Alonso: A Man & His Music JazzDeLaPlena: Remembering Composer Catalino Tite “Curet” Alonso Wikipedia: Tite Curet Alonso BOOKS Andrés Espinoza Agurto (Michigan State University Press, 2021): Salsa Consciente: Politics, Poetics, and Latinidad in the Meta-Barrio < NEXT POST PREVIOUS POST >

PRE-SHOW POST | AFTER-SHOW POST It has long fascinated me that Italy boasts great talent in salsa music production -- whether by Italian musicians, musicians based in Italy but of a different heritage, or Italian DJs who make music. Some of the music on Encanto Tropical 42 Spotlighting Italian salsa will be the theme of Encanto Tropical - Episode 42. Although I once visited Italy to run the Rome Marathon several years ago, unfortunately I did not attend any Italian salsa events. Therefore, I am certainly not an expert on Italian salsa, but in my long-going attempt to research songs made by musicians and Djs in Italy, the result was a very long list which remains unfinished (see here ). Clearly, music production in Italy really shines when compared to other countries where salsa is not mainstream. Sept 12 (08:00 NY / 14.00 Italy / 21:00 Japan) on World Salsa Radio So I have ventured to go through my collection and sample a selection of songs to represent Italian salsa. This is no easy task, especially with a 2-hour show limit. Nonetheless, it is an interesting challenge. My choice of songs avoids obvious anthems and leans towards lesser known material while also limiting the share of the pie by certain prolific artists. There will certainly be several songs that I can fit due to time limitations, which may be a good reason for a Part 2 on this theme. Francisco Rojos DJ of Salsa.It As a bonus, appearing on the episode is Francisco Rojos, a pioneering DJ, music producer, and creator of the Latin web magazine and music label Salsa.it . In an interview, he will share his thoughts and I hope to spotlight the following points with listeners. a brief history of salsa in Italy an introduction to several salsa songs which come from Italian popular music an overview of his own pioneering role in the Italian salsa scene his recommendation of some exemplary Italian salsa songs His choice of seven songs -- including his own -- will be shared on the show, which starts with a 35-minute mix of some of my favourite Italian salsa tunes from recent years. To learn more about Francisco Rojos, check out his profile on the Salsa.it website as well as his podcast, Latin Connection , which is a collaboration with Radio Quisqueya. Both are in Italian. Thanks to Fabrizio Zoro  (DJ, composer, music producer, and director of La Maxima 79 ) who was a guest on Episode 14 , for introducing me to Francisco Rojos. Tune in on September 12 for a special show. Please note that it will be conducted in Spanish. < NEXT POST PREVIOUS POST >

Episode 43 is titled “Cuban Roots” and features Cuban music from the 1950s and early 1960s (39 tracks, 2:05:39). See the replay section at the bottom of this page. Cesar Miguel Rondon describes the 1950s as a time when Cuban music was defined by ‘spectacle’ and with ‘safe lyrics’ [1] . This contrasts with the music of the late 1960s and early 1970s when its adapted forms had evolved and found expression in New York neighbourhoods where Hispanic/Latino immigrants resided. The music was no longer extravagant and for carefree parties but rather for expressing the “violence and bitterness of a particular type of life—that of the barrio” [2]. The context of el barrio is thus key to understanding how a pan-Caribbean music rooted in Cuban rhythms developed a particular style and appeal which came to be known as ‘salsa’. Some of the music on Episode 43 This episode of Encanto Tropical is partly an effort to explore some context of that precedent. However, while much of the music of the 1950s and early 1960s certainly show some 'extravagance', there were also songs that reveal a kind of 'punchy attitude', if you will, which may have relevance as an undeniable foundation (at best) or a coincidental trait (at worst) of the musical style which emerged in New York in the 1970s — perhaps we can assume it's somewhere in between. Regardless, the main purpose of the episode is to merely highlight a musical era for appreciation and use it for further discussion. However, underlining both the connection of this era with the 70s as well as exposing the grey zone of the term 'salsa' are the inclusion of several Cuban works used by salsa bands of the late 60s and beyond, a time when the political situation made copyright issues nothing to worry about. Yet it its worth noting that this matancera  variant of salsa was unlike the ‘true’ salsa of the barrio because the practice of making cover songs implied that “only the old music made sense” [3]. Notably, the use of original Cuban songs was usually without any attribution other than the initials "D.R." for derechos reservados meaning  copyright reserved; this method was a convenient way to avoid crediting a Cuban composer or paying royalties [4]. Episode 43 has a common motif among its 39 musical pieces -- Cuban music played by Cubans (although not always in Cuba) from a period ending with early the years of revolutionary Cuba, when regime change had far-reaching consequences for Cuban music both inside and outside of the country. Things would never be the same, and the stage was set for a chaotic transitional phase from which Cuban-derived music, infused by new instrumental arrangements, pan-Latin flavours, and new visions influenced by the socio-cultural contexts of the 70s, would evolve from. While the song selection is thus presented thematically, there is no special motive or implication in an all-Cuban selection; it is merely an attempt at contributing to the exploration of the history of Afro-Caribbean music but with Cuba in focus. Artists The following is a list of artists/groups appearing in Episode 43. Parentheses indicate the number of songs. Arsenio Rodríguez y su Conjunto (2) Bebo Valdés Belisario López y Su Charanga Beny Moré (2) Carlos Emilio Morales Celina y Reutilio Chappotin y Sus Estrellas Cheo Marquetti y su Conjunto  Chorolo y Su Combo Conjunto Casino (3) Estrellas De Chocolate Fernando Alvarez Gilberto Monroig Israel Lopez Cachao La Gloria Matancera (2) La Sonora Matancera feat. Celia Cruz La Sonora Matancera feat. Celio Gonzalez (2) La Sonora Matancera feat. Bienvenido Granda (2) La Sonora Matancera feat. Vicentico Valdés Los Compadres Los Guaracheros de Oriente Luis Santi y Su Conjunto Niño Rivera Orquesta Almendra Orquesta Aragon (2) Pedro Justiz " Peruchin" René Touzet & his Orchestra Roberto Faz y su Orquesta Rolando Laserie Rosendo Ruíz, Jr. and his Orchestra Septeto Nacional De Ignacio Piñeiro Walfredo De Los Reyes Jr. & Su Orquesta Acknowledgements Among several books and publications that were consulted in creating the episode, one book was particularly resourceful: Cesar Miguel Rondon’s the Book of Salsa (University of North Carolina Press, 2008) .  I also wish to acknowledge the devotion to Latin American musicology by Pablo Yglesias, a.k.a. DJ Bongohead ( Instagram ) whose curation in the compilations “The Roots of Salsa” (Volumes 1, 2, 3 ) served as an inspiration for this episode and also a source for several songs. These compilations released by Grosso Records are highly recommended for collectors and salsa researchers. Appreciation is also directed towards the Cuban musician Yacel Sagarra , based in Japan, who has always been available to teach me important points about Cuban music. REFERENCES Rondon, Cesar Miguel, 2008. The Book of Salsa (University of North Carolina Press, 2008), p. 21. “ p. 22. “ p. 26. Moore, Robin, 2002. Salsa and Socialism: Dance Music in Cuba, 1959-99. In L. Walker (Ed.), Situating Salsa: Global Markets and Local Meaning in Latin Popular Music (Routledge, 2002) pp. 62-63 . REPLAY Episode 43 - 'Cuban Roots' (Cuban Music of the 1950s and early 1960s) < NEXT POST PREVIOUS POST >

PRE-SHOW POST | AFTER-SHOW POST This summer I marked the 60th Anniversary of Fania Records’ founding with a salsa tribute session in Episode 35 . Episode 44 is Part 2 of the tribute. It was fun building that playlist but there were many outtakes due to the limitations of a two-hour show. A lot of material deserves to be covered when attempting to present Fania as the protagonist of an exciting new musical period that lasted several decades, so the omission of several songs set the stage for Part 2 in the next episode of Encanto Tropical. Ready for cueing are about 25 more songs form the Fania universe, and this includes tracks from the Alegre, Inca, Cotique, and Tico catalogs since Fania acquired these labels as it grew in size and power during its heyday. Fania was also the parent company of sub-labels such as Vaya and International. (Fania itself is currently owned by Concord Music .) Three Examples Three songs stand out as necessary inclusions because they were not in the Part 1 tribute. Following are some brief descriptions for context. 'Pancho Cristal' Los Durísimos, Ricardo Ray & Bobby Cruz Alegre Records, 1968 The virtuoso pianist Ricardo Ray and singer Bobby Cruz are among the most iconic duos in the world of salsa. They produced a string of albums with anthems that, while not always dancer-friendly, resonated with hard-core fans. Their mark in the annals of the ‘salsa’ explosion of the mid 1960s to mid 1970s include a unique sound of masterful compositions, arrangements, and piano — with alluring lyrics.  The 1968 album Los Durísimos , although not particularly rare or collectible, released first on the Alegre label and then on Tico, is a personal favourite. Both labels were appropriated by what became the “Motown” of the emerging ‘salsa’ industry, Fania Records; thus, the album is part of the Fania universe and qualifies for consideration in any tribute marking its jubilee.  On the album there is a particularly special track named after an esteemed Cuban producer of Latin music in the pre-salsa era whose role in historical recordings cannot be underestimated. 'Pancho Cristal' is a fiery tune and among my favourites to play when harking back to proto- salsa dura .  'Alacrán (Tumbando de Caña)' Soy Boricua, Bobby Valentin Fania Records, 1972 Ranked 25th in a recent list of the 50 greatest salsa albums of all time by Rolling Stone magazine , Bobby Valentin’s ‘Soy Boricua’ (1972) certainly deserves recognition — although by nature all such ‘greatest’ lists are subjective. Regardless, it’s a personal favourite and listening to it recently was a pleasant stroll down memory lane.  Valentin, a composer, bassist, recorded the album when he returned to Puerto Rico after enjoying early success in New York first as a sideman then as a band director. It was a landmark album for the Fania Records label but soon after he would produce future albums on the Bronco label after a period of imprisonment.  Known as El Rey del Bajo , or the King of the Bass, Bobby Valentin is still with us, and his mark on Fania Records and salsa at large is without question.  A seminal album, a number of hit songs grace Soy Boricua ; a fine one is 'Alacrán (Tumbando de Caña)', with a great introduction then a fantastic buildup which includes explosive instrumentation and vocals. 'Ametralladora' Yo Soy Latino, Larry Harlow Fania Records, 1983 There were few core members of the New York Latin music community in the 1970s who were not of hispanic/latino heritage. One of them was pianist Larry Harlow, known as El   Judio Maravilloso (“The Marvelous Jew”), but he had iconic status and was untouchable having proven his chops as a master interpreter of Afro-Cuban genres, as he had studied in Cuba in the 1950s, and his orchestra was the second to sign with the Fania label.  Harlow was a pivotal component in Fania’s rise over the years and certainly played a major role at live concerts by the Fania All-Stars. When Fania’s reach and influence started to wane in the 1980s, Larry Harlow was still showing his musical prowess. The 1983 release Yo Soy Latino is of special note. Included is the track 'Ametralladora' (Spanish for machine gun). The lyrics evoke a tough and adamant attitude, touching on themes of aggression and love. These mingle into confident machoism, calling to a pistol-armed man who covets a certain woman that the singer has a better weapon — a machine gun — and will certainly win her over instead. The lyrics juxtapose with a powerful piece of music with intense instrumentation, including fine percussion and electric guitar. Some of the music on Encanto Tropical 44 The programming of these three songs among a total of two dozen or so will be my focus as we travel fifty-plus years back in time to when New York City neighborhoods, or barrios,  were buzzing with pan-Caribbean innovations of Cuban-derived music, interpreted and arranged anew by a mixture of mostly Puerto Rican musicians — but also involved were Cubans who had left their country, as well as other nationalities, such as Dominicans. Together their raw sound steeped in barrio life was different in tone and context from the extravagance and high-life of the previous decade, and would eventually be promoted under the loosely defined commercial buzz word 'salsa'. Fania and its associates were key in the term’s acclimatization.  In simple terms, Fania helped put 'salsa' on the musical map, as I have mentioned before, and although Fania’s success was marred by controversy, it deserves recognition. While Episode 44 aims to spotlight some of Fania’s greatest anthems, lesser-known works will also be included. Naturally, the entire selection process is subjective in nature — the featured songs are just part of my personal view on how to mark this 60th anniversary and to be taken with a pinch of salt. I hope listeners can enjoy it. < NEXT POST PREVIOUS POST >

AFTER-SHOW POST | PRE-SHOW POST Episode 44 can be replayed at the bottom of this page (26 tracks, 2:00:57). A tribute session celebrating the 60th anniversary of Fania Records was posted earlier this year ( Episode 35 ). Despite its length of move than 2 hours, I felt I had not included enough songs. Besides, there were so many outtakes from my original shortlist of tunes. Doing a second tribute thus seemed absolutely necessary. Here it is: Part 2. See the pre-broadcast post for context. Artists Artists included are listed below. Full attribution is given on the show.   Angel Canales Baby Gonzalez, Orquesta Riviera Bobby Valentin Celia Cruz & Johnny Pacheco Chamaco Ramirez Cheo Feliciano Chino Rodriguez y La Consagración Chivirico Davila Fania All Stars Frankie Dante y Su Orquesta Flamboyan Hector Lavoe Impacto Crea Ismael Miranda con Orchestra Harlow Ismael Rivera Julio Castro & Orquesta La Masacre Justo Betancourt Larry Harlow Latin Tempo Markolino Dimond The Lebron Brothers Ray Barretto Roberto Roena y Su Apollo Sound Ricardo "Richie" Ray & Bobby Cruz Ruben Blades The list of artists spans several labels in the Fania universe, as it was a parent company with sub-labels it either established or acquired, such as Alegre, Cotique, Tico, International, and Vaya. Note that some of the artists featured here were not exclusively on Fania, but the songs selected for the show are from the Fania discography. Some of the music on Encanto Tropical 44 Fania Records is owned by Concord Records .  REPLAY EPISODE 44 < NEXT POST PREVIOUS POST >

PRE-EVENT POST | AFTER-EVENT POST Coming up is the Taiwan Salsa Carnival in Taipei on the weekend of Nov 22-24.  LINEUP There is a great lineup of artists who together with social dancers and workshop participants will make exciting memories over this weekend. There are so many to mention... Along with DJs Tienyu, James, and Ellen (and more), there are performers/instructors Alien Ramirez, Frankie Martinez, Eric Rodriguez, Ari, Arieh Alexander, Darling Saeko, Patty Lin, Hide & Peko, Johnathan & Busra, Ozlem & Diego, Romantic Babulu, and more. Not to be missed! Get your tickets here . Organized by CopaTaiwan THEMES This year's event has daily dress code themes to enliven the fun: "Stylish Glasses" on Friday, "Luxury" on Saturday, and "Elegant" on Sunday. Let's go! Venue & Workshops The venue building, Nu Zone Exhibition Center, is a beautiful setting chosen by the event organizer Calvin Wang as the meeting point for social dancers, performers, DJs, and dance instructors from around the world. It has separate dance halls for salsa and bachata. The packed workshop schedules on both days will be followed by dancing late into the night. DJing, PRESENTing at Taiwan Salsa Carnival 2024 I will be selecting tunes in the Salsa Room on Friday and Saturday night. It will be my fifth time joining this great event in Taipei. I have not been there since the pandemic, so there will be some great reunions! In addition to deejaying I will deliver a presentation on Sunday titled "Salsa in Context". My aim is to provide insight for non-Spanish speakers who may not know the meaning of the lyrics while dancing or listening to salsa songs. UNDERSTANDING Salsa LYRICS In Japan it has always struck me as a fascinating dynamic that social dancers can pair up and display great technique when dancing to the musicality of songs without understanding the lyrics, as they are in Spanish. But this observation is non-judgmental. Clearly, salsa is for everyone. Dance is an international language crossing all borders. It unites people as a medium for peace, understanding, and building joyful moments on the dance floor -- and beyond. Not understanding the words of a song is, of course, not a problem. However, I believe that being able to understand salsa lyrics can take dancers to a higher level. While some songs are trivial and simple in meaning, others have great depth showing social, historical, and cultural context. You might say that cultivating knowledge about your chosen artistic expression is just as important as developing the techniques for expression within it. CONNECTING with Salsa Besides, there is a background story to everything. No matter the field of study or art form, discovering context, history, connections, and relevance promotes intellectual growth, artistic expression, and further connection to your driving passion. The premise is that dancers can find appreciation and a deeper connection with songs they understand, offering greater potential for their interpretational experience — both physical and mental — when engaging their body movement to a song.  This led me to researching and curating songs for a project titled “Salsa in Context”. I recently wrote about context in Cheo Feliciano’s anthem, ‘Anacaona’ (composed by Tite Curet Alonso) , and this served as the impetus for my presentation at the Taiwan Salsa Carnival, where I will detail several songs and even look at salsa as a whole when it comes to context as a template. I am looking forward to giving this talk -- not only in my role as a salsa DJ but also as an academic at a Japanese university, and I strive for a certain standard. However; authoring a presentation on salsa at an academic standard has its challenges, as salsa musicology contains pitfalls, sources may sometimes conflict, and oral history -- although valuable -- may not be entirely reliable. I wish all attendees to be satisfied, including veteran dancers and knowledgeable instructors in attendance... SCHEDULE [ This post was published before going to Taipei. Read the post-event post here . ] Encanto Tropical 45 On a related note is the next episode of Encanto Tropical, which will feature songs prepared for both DJing and presenting at the Taiwan Salsa Carnival 2024. Episode 45 “In the bag for Taipei” broadcasts on Nov. 21st on World Salsa Radio (see bottom for broadcast info). See you in Taipei soon! < NEXT POST PREVIOUS POST >