Raices - Raices_Annotations_English
01:12
Welmo raps. Assuming my people are ready, a chronicler arrives, the protagonist of a story that pays homage to rhythm, the drum, and cadence, giving essence and relevance to powerful memories, claiming a space within a culture that has sometimes forgotten the splendor of its Black heritage.
06:58
Ya Negro Murió or "Negra Triste" (Aguadilla)
Negra triste porque ya el negro murió porque ya el negro durmió mas nunca va a disfrutar el guateque— solo quedó la negra.
La negra no cesa de llorar ¡ay su dolor!
Negra está triste negra sola llora su pena llora su pena y su dolor.
El negro que tanto quiso está en los reinos de Dios.
Negra está triste está llorando su amor está llorando a su negro su negro que tanto amó.
10:12
Welmo raps. I get up, I take a breath, I follow the rhythm, I clear my head in the blood of a race that looks in the mirror with black hands, hands that throw themselves onto the leather. Song, dance, rhythm. Song, dance, rhythm.
17:34
But now he will see the beach
But now he will see the palm grove
But now before the great fire with Tembandumbá
He will be able to dance
But now he will see the beach
But now he will see the palm grove
But now before the great fire with Tembandumbá
He will be able to dance
With Tembandumbá
He will be able to dance
With Tembandumbá
And to Guinea his zombie flies
Coquí, cocó, cucú, cacá
Bombo, the great mongo, beneath the jungle
His tender steps will lead
Neither white shadow on the grass
Nor black sorcerer will hinder him
Bombo, the great mongo, beneath the jungle
His tender steps will lead
His tender steps will lead
His tender steps
43:07
Welmo raps. Friday night, waning moon, stop 22 of the market square, it's sweet, and Elena and her friend are strutting around, living in the moment, unaware of what awaits them, chatting, the BBC playing, a beer can on the ground. Neighbors from the area are leaving, they've already closed their windows. Elena and her chronicle of a death foretold. Elena, beautiful Elena, what do you think, Elena? This hiccup with the plena music. You live your life your way, my way, and that's why, baby, they broke up without problems. Elenas die every day from abuse, even with Law 54 in effect.
Raices - Raices_Annotations_Spanish
01:12
Welmo E. Romero Joseph (n. 1993) fue un MC de hip hop que también es conocido por su activismo y sus valores de justicia social. En este clip él esta rapeando lo siguiente. Presuemiendo que mi gente se encuentre lista llega un cronista protagonista de una historiaque le rinde culto al ritmo el tambor y la cadencia dando esencia y vigencia a fuertes memorias reclamando un espacio al interior de una cultura que en ocasiones ha olvidado el espelendor de su negrura.
01:30
Un cantante interpreta en un dialecto africano o criollo no identificado.
06:15
Welmo interviene una vez más con una transición de rap narrativo. Su rap declara: No pretendo ser el reemplazo de voces ausentes ni decir que mi oratoria es la única referencia. Baile bomba, toques de plena, lo que digo vale la pena. Lo importante es la conexión del pasado con el presente.
06:58
Ya Negro Murió or "Negra Triste" (Aguadilla)
Negra triste porque ya el negro murió porque ya el negro durmió mas nunca va a disfrutar el guateque— solo quedó la negra.
La negra no cesa de llorar ¡ay su dolor!
Negra está triste negra sola llora su pena llora su pena y su dolor.
El negro que tanto quiso está en los reinos de Dios.
Negra está triste está llorando su amor está llorando a su negro su negro que tanto amó.
08:22
Traían su religion, traían su musica, traían todo.
09:57
Petra Cepeda dice que la bomba, para mí, era el baile de los negros y era como el minué, fue la respuesta popular a la música y la danza de la aristocracia.
10:12
Welmo canta la siguiente: Canto, baile, ritmo. Me levanto tomo aire sigo el ritmo me despejo en la sangre de una raza que se mira al espejo con las manos negras manos que se lanzan sobre el cuero. Canto, baile, ritmo. Canto, baile, ritmo.
43:07
Welmo rapea lo siguiente: Viernes en la noche luna en cuarto menguante parada 22 de la plaza del mercado está dulce y elena se patean altanera viviendo su presente sin saber lo que espera la gente conversando la bbc tocando la lata de cerveza en el piso van quedando vecinos de la zona ya cerraron sus ventanas. Elena y su crónica de una muerte anunciada llegó Elena preciosa Elena qué te parece Elena. Este hipo con la plena. Vives en tu vida que a tu modo mis maneras y por eso nena se cortaron sin problemas. Elenas mueren cada día por maltrato a un con nueve o sigo la ley 54.
Twenty Twenty Five Encuentro de Cantaoras - 2025_Encuentro de Cantaoras_Annotations_ES
50:16
Verso
Es en mi
En mi pecho
Me Llamando me
Esta a dentro
Llama Congo
Y yo le respondo
Con es'e canto
Que esta a dentro
Llama Congo
Coro
Congo esta llamando
Congo esta llamando
Congo pide bomba yo
Esta repicando
Twenty Twenty Five Encuentro de Cantaoras - 2025_Encuentro de Cantaoras_EN
37:03
50:16
1:11:26
Twenty Twenty Four Encuentro de Tambores - Twenty Twenty Four Encuentro de Tambores_EN
1:07:00
“Se me rompió el tambor” – Delegación del Este Chorus My drum broke, oh what a shame, oh what pain. I’m looking for an artisan who will put their heart into it. Verses I travel all around the island, and I play over there with Wilfredo Morales. The great Kichi turned into a werewolf, and now tell me what I’m supposed to do if my drum breaks. I asked Jesús Cepeda if he could help me in that situation. He told me to be patient and to put intention into it without desperation. So I called Papo del Valle, and I also thought of Emmanuel Martínez, who might be able to solve this emergency. Then call Víctor Vélez or Rafael Trinidad Maurás. They don’t answer me, and I don’t want to imagine that I won’t be able to play it anymore… my drum is breaking. At that drum gathering the problem was solved, because Alcadio Quiñones put his heart into it, and the drum will sound again.
Twenty Twenty Four Encuentro de Tambores - Twenty Twenty Four Encuentro de Tambores_ES
1:07:00
Coro
Se me rompió el tambor, ay qué pena, ay qué dolor. Ando buscando un artesano que le ponga el corazón.
Versos
Yo viajo por toda la isla y creo allá con Wilfredo Morales. El gran Kichi en hombre lobo se convirtió, y ahora dime qué hago yo, si se me rompe el tambor.
Le pregunté a Jesús Cepeda si me daba algo en esa situación. Me dijo que tenga paciencia y que le ponga intención sin desesperación.
Pues llamé a Papo del Valle, también pensé en Emmanuel Martínez, que pudieran resolver esta emergencia.
Pues llámese a Víctor Vélez o a Rafael Trinidad Maurás. No me contestan y yo no quiero imaginar que no lo pueda tocar más… ¡se me rompe el tambor!
En ese encuentro de tambores el problema se resolvió, pues Alcadio Quiñones le puso su corazón, ¡y el tambor va a resonar!
Twenty Twenty Four Encuentro de Cantaoras - 2024_Encuentro de Cantaoras_Annotations_EN
03:35
"Cuando baila la negrita" Chorus When the little Black girl dances Thunder, lightning, drum When the little Black girl dances Rain, rhythm— She got wet When the little Black girl dances, the drum keeps time When the little Black girl dances—rain, sky, drum Chorus The little Black girl dances bomba, yuba inspired her Every strike of the drum lit up the heart When the little Black girl dances, the stars shine in chic She danced bomba in Don Pedro’s little house, and it rang out When the little Black girl dances—drum, rain, in the wind She got wet; the drums tell stories Of courage and valor—Puerto Rico, I love you And I sing to you from the heart When the little Black girl dances—thunder, gold, drum When the little Black girl dances, she rises to the wind, she got wet When the little Black girl dances, the lightning dances When the little joyful girl dances, in the wind she got wet The little Black girl dances bomba, inspired by love It ignited in the heart
58:27
"Por que me dicen morena?" Ausuba Someone shouted from far away, “Morena, come over here.” How beautiful that hair is, it looks spectacular on you. Then I said, “Morena? Thank you, you’re very kind. But I want to correct something, and I hope you take it well. It’s just that I am not morena, nor am I the color of coffee. I am proudly Black, and that is what I will always be. Why do you call me morena if that is not my color? I have a Black heritage, and I am proud of it. Verses From my ancestors and from the sound of my drum, I am Black by birth, a singer at heart. Because the race lives in me — that’s why Black, Black is what I am. Why do you call me morena if that is not my color? I have a Black heritage, and I am proud of it. Oh, I have a pure lineage — warriors and compassion, Who rose up in struggle and defended our color. I have a Black heritage, and I am proud of it. My race is my color, and I am proud of it.
Twenty Twenty Two Encuentro de Tambores - 2022_Encuentro de Tambores_EN
1:39:24
Coro
Esa, esa Dominé
Esa, esa Dominé
Mi salvatore de viva mue
Versos
Bomba, bomba me cure
Mi Salvatore, ah!
1:51:50
Aye ya
Versos
Corta la caña
Caña no muero
Corta la caña Manuel
Corta la caña Manuel
1:56:00
Se sa se vre,
Se sa se vre
Es que nuevo bambula
Coro
Se sa se vre
Versos
nov bezwen bambula
eske nou bezwen bambula
Tout moun bezwen bambula
Twenty Twenty Two Encuentro de Tambores - 2022_Encuentro de Tambores_ES
1:39:24
Coro
Esa, esa Dominé
Esa, esa Dominé
Mi salvatore de viva mue
Versos
Bomba, bomba me cure
Mi Salvatore, ah!
1:51:50
Aye ya
Versos
Corta la caña
Caña no muero
Corta la caña Manuel
Corta la caña Manuel
1:56:00
Se sa se vre,
Se sa se vre
Es que nuevo bambula
Coro
Se sa se vre
Versos
nov bezwen bambula
eske nou bezwen bambula
Tout moun bezwen bambula
Zafra Fusion Cepeda Part Five - Zafra Fusion Cepeda_Part Five_Annotations_EN
00:28
“En la hacienda Caridad” - Don Rafael Cepeda Atiles Chorus At the Caridad hacienda they dance bomba, at the Caridad hacienda they dance real bomba. Verses At the Caridad hacienda they dance bomba, at the Caridad hacienda they dance real bomba. At the Caridad hacienda they dance bomba, at the Caridad hacienda they dance bomba and nothing more.
Zafra Fusion Cepeda Part Five - Zafra Fusion Cepeda_Part Five_Annotations_ES
00:28
Coro
En la hacienda Caridad se baila bomba, en la hacienda Caridad se baila bomba de verdad
Versos
En la hacienda Caridad se baila bomba, en la hacienda Caridad se baila bomba de verdad
En la hacienda Caridad se baila bomba, en la hacienda Caridad se baila bomba y nada má(s)
Zafra Fusion Cepeda Part Four - Zafra Fusion Cepeda_Part Four_Annotations_EN
16:56
Chorus
The good herb
Verses
Boru cana
(unintelligible)
Zafra Fusion Cepeda Part Four - Zafra Fusion Cepeda_Part Four_Annotations_ES
16:56
Coro
La hierba buena
Versos
Boru cana
(unintelligible)
Zafra Fusion Cepeda Part One - Zafra Fusion Cepeda_Part One_Annotations_EN
07:00
Narrator: Throughout our history, Black people carried the weight of labor. They cleared the fields, plowed the land, and planted the coastal valleys with the seed of sugar. Understanding this arduous and hostile process of the sugar plantations makes it easier for us to grasp the importance of religion, cultural life, and the customs of Black Puerto Ricans. If we do not understand this essential fact, we will never comprehend their other contributions—such as their imprint on our ethnic formation and their cultural integration into our society. For all these reasons, we must emphasize that sugar and Black slavery were synonymous throughout our history. Over time, there was a shift. Black labor became concentrated in coffee cultivation, which was not very successful. Then Queen Sugar displaced the rich bean, and once again Black hands became responsible for Puerto Rico’s economic development. The contribution of Black people to Puerto Rican society was especially significant in the second half of the 19th century. In 1873, when the number of enslaved people had already been reduced to a minority, the Spanish courts proclaimed: Abolition of slavery!
Zafra Fusion Cepeda Part Two - Zafra Fusion Cepeda_Part Two_Annotations_EN
03:07
Along the blazing Antillean street
goes Tembandumba of the Quimbamba
Rumba, macumba, candombe, bámBula
between two rows of black faces
Before her, a congo, gongo, and maraca
rhythms a conga bomba that swings
Wiggling, the Queen advances
and from her immense hips slip
sexy movements that the gongo solidifies
in rivers of sugar and molasses
Dark sugar mill of sensual harvest
the hips, mass with mass
squeeze rhythms, sweat that bleeds
and the grinding culminates in dance
Along the blazing Antillean street
goes Tembandumba of the Quimbamba
Flower of Tortola, rose of Uganda
for you, bombs and bámBulas crackle
for you, in wild parades
the Antilles burn their ñáñiga blood
Haiti offers you its pumpkins
fiery rums Jamaica gives you
Cuba says to you: go ahead, mulatta
And Puerto Rico, sweet melamba
Are my cocolos of black faces
Thunder drums, vibrate maracas
Along the blazing Antillean street
rumba, macumba, candombe, bámBula
goes Tembandumba of the Quimbamba
06:40
Coro 'Cause I'm going (Carnival) To have fun (Carnival) To dance (Carnival)
Zafra Fusion Cepeda Part Two - Zafra Fusion Cepeda_Part Two_Annotations_ES
08:00
Versos
Yo vi un diablo verde (Pintao' en la cocina) Vejigante está pintao' (De amarillo y colorao') Culebra en la Loiza Siete pescaos
Que yo me voy (Carnaval)
Para Gozar (Carnaval)
Para bailar (Carnaval)
Raices
01:12 - 01:30
Welmo raps. Assuming my people are ready, a chronicler arrives, the protagonist of a story that pays homage to rhythm, the drum, and cadence, giving essence and relevance to powerful memories, claiming a space within a culture that has sometimes forgotten the splendor of its Black heritage.
06:58 - 08:00
Ya Negro Murió or "Negra Triste" (Aguadilla)
Negra triste porque ya el negro murió porque ya el negro durmió mas nunca va a disfrutar el guateque— solo quedó la negra.
La negra no cesa de llorar ¡ay su dolor!
Negra está triste negra sola llora su pena llora su pena y su dolor.
El negro que tanto quiso está en los reinos de Dios.
Negra está triste está llorando su amor está llorando a su negro su negro que tanto amó.
10:12 - 10:16
Welmo raps. I get up, I take a breath, I follow the rhythm, I clear my head in the blood of a race that looks in the mirror with black hands, hands that throw themselves onto the leather. Song, dance, rhythm. Song, dance, rhythm.
17:34 - 17:50
But now he will see the beach
But now he will see the palm grove
But now before the great fire with Tembandumbá
He will be able to dance
But now he will see the beach
But now he will see the palm grove
But now before the great fire with Tembandumbá
He will be able to dance
With Tembandumbá
He will be able to dance
With Tembandumbá
And to Guinea his zombie flies
Coquí, cocó, cucú, cacá
Bombo, the great mongo, beneath the jungle
His tender steps will lead
Neither white shadow on the grass
Nor black sorcerer will hinder him
Bombo, the great mongo, beneath the jungle
His tender steps will lead
His tender steps will lead
His tender steps
43:07 - 43:43
Welmo raps. Friday night, waning moon, stop 22 of the market square, it's sweet, and Elena and her friend are strutting around, living in the moment, unaware of what awaits them, chatting, the BBC playing, a beer can on the ground. Neighbors from the area are leaving, they've already closed their windows. Elena and her chronicle of a death foretold. Elena, beautiful Elena, what do you think, Elena? This hiccup with the plena music. You live your life your way, my way, and that's why, baby, they broke up without problems. Elenas die every day from abuse, even with Law 54 in effect.
Raices
01:12 - 01:30
Welmo E. Romero Joseph (n. 1993) fue un MC de hip hop que también es conocido por su activismo y sus valores de justicia social. En este clip él esta rapeando lo siguiente. Presuemiendo que mi gente se encuentre lista llega un cronista protagonista de una historiaque le rinde culto al ritmo el tambor y la cadencia dando esencia y vigencia a fuertes memorias reclamando un espacio al interior de una cultura que en ocasiones ha olvidado el espelendor de su negrura.
01:30 - 02:13
Un cantante interpreta en un dialecto africano o criollo no identificado.
06:15 - 06:28
Welmo interviene una vez más con una transición de rap narrativo. Su rap declara: No pretendo ser el reemplazo de voces ausentes ni decir que mi oratoria es la única referencia. Baile bomba, toques de plena, lo que digo vale la pena. Lo importante es la conexión del pasado con el presente.
06:58 - 08:00
Ya Negro Murió or "Negra Triste" (Aguadilla)
Negra triste porque ya el negro murió porque ya el negro durmió mas nunca va a disfrutar el guateque— solo quedó la negra.
La negra no cesa de llorar ¡ay su dolor!
Negra está triste negra sola llora su pena llora su pena y su dolor.
El negro que tanto quiso está en los reinos de Dios.
Negra está triste está llorando su amor está llorando a su negro su negro que tanto amó.
08:22 - 08:28
Traían su religion, traían su musica, traían todo.
09:57 - 10:02
Petra Cepeda dice que la bomba, para mí, era el baile de los negros y era como el minué, fue la respuesta popular a la música y la danza de la aristocracia.
10:12 - 10:16
Welmo canta la siguiente: Canto, baile, ritmo. Me levanto tomo aire sigo el ritmo me despejo en la sangre de una raza que se mira al espejo con las manos negras manos que se lanzan sobre el cuero. Canto, baile, ritmo. Canto, baile, ritmo.
43:07 - 43:43
Welmo rapea lo siguiente: Viernes en la noche luna en cuarto menguante parada 22 de la plaza del mercado está dulce y elena se patean altanera viviendo su presente sin saber lo que espera la gente conversando la bbc tocando la lata de cerveza en el piso van quedando vecinos de la zona ya cerraron sus ventanas. Elena y su crónica de una muerte anunciada llegó Elena preciosa Elena qué te parece Elena. Este hipo con la plena. Vives en tu vida que a tu modo mis maneras y por eso nena se cortaron sin problemas. Elenas mueren cada día por maltrato a un con nueve o sigo la ley 54.
Twenty Twenty Five Encuentro de Cantaoras
50:16 - 58:11
Verso
Es en mi
En mi pecho
Me Llamando me
Esta a dentro
Llama Congo
Y yo le respondo
Con es'e canto
Que esta a dentro
Llama Congo
Coro
Congo esta llamando
Congo esta llamando
Congo pide bomba yo
Esta repicando
Twenty Twenty Five Encuentro de Cantaoras
37:03 - 42:25
50:16 - 58:11
1:11:26 - 1:14:00
Encuentro de Tambores
1:07:00 - 1:08:00
“Se me rompió el tambor” – Delegación del Este Chorus My drum broke, oh what a shame, oh what pain. I’m looking for an artisan who will put their heart into it. Verses I travel all around the island, and I play over there with Wilfredo Morales. The great Kichi turned into a werewolf, and now tell me what I’m supposed to do if my drum breaks. I asked Jesús Cepeda if he could help me in that situation. He told me to be patient and to put intention into it without desperation. So I called Papo del Valle, and I also thought of Emmanuel Martínez, who might be able to solve this emergency. Then call Víctor Vélez or Rafael Trinidad Maurás. They don’t answer me, and I don’t want to imagine that I won’t be able to play it anymore… my drum is breaking. At that drum gathering the problem was solved, because Alcadio Quiñones put his heart into it, and the drum will sound again.
Encuentro de Tambores
1:07:00 - 1:08:00
Coro
Se me rompió el tambor, ay qué pena, ay qué dolor. Ando buscando un artesano que le ponga el corazón.
Versos
Yo viajo por toda la isla y creo allá con Wilfredo Morales. El gran Kichi en hombre lobo se convirtió, y ahora dime qué hago yo, si se me rompe el tambor.
Le pregunté a Jesús Cepeda si me daba algo en esa situación. Me dijo que tenga paciencia y que le ponga intención sin desesperación.
Pues llamé a Papo del Valle, también pensé en Emmanuel Martínez, que pudieran resolver esta emergencia.
Pues llámese a Víctor Vélez o a Rafael Trinidad Maurás. No me contestan y yo no quiero imaginar que no lo pueda tocar más… ¡se me rompe el tambor!
En ese encuentro de tambores el problema se resolvió, pues Alcadio Quiñones le puso su corazón, ¡y el tambor va a resonar!
Twenty Twenty Four Encuentro de Cantaoras
03:35 - 07:35
"Cuando baila la negrita" Chorus When the little Black girl dances Thunder, lightning, drum When the little Black girl dances Rain, rhythm— She got wet When the little Black girl dances, the drum keeps time When the little Black girl dances—rain, sky, drum Chorus The little Black girl dances bomba, yuba inspired her Every strike of the drum lit up the heart When the little Black girl dances, the stars shine in chic She danced bomba in Don Pedro’s little house, and it rang out When the little Black girl dances—drum, rain, in the wind She got wet; the drums tell stories Of courage and valor—Puerto Rico, I love you And I sing to you from the heart When the little Black girl dances—thunder, gold, drum When the little Black girl dances, she rises to the wind, she got wet When the little Black girl dances, the lightning dances When the little joyful girl dances, in the wind she got wet The little Black girl dances bomba, inspired by love It ignited in the heart
58:27 - 1:01:00
"Por que me dicen morena?" Ausuba Someone shouted from far away, “Morena, come over here.” How beautiful that hair is, it looks spectacular on you. Then I said, “Morena? Thank you, you’re very kind. But I want to correct something, and I hope you take it well. It’s just that I am not morena, nor am I the color of coffee. I am proudly Black, and that is what I will always be. Why do you call me morena if that is not my color? I have a Black heritage, and I am proud of it. Verses From my ancestors and from the sound of my drum, I am Black by birth, a singer at heart. Because the race lives in me — that’s why Black, Black is what I am. Why do you call me morena if that is not my color? I have a Black heritage, and I am proud of it. Oh, I have a pure lineage — warriors and compassion, Who rose up in struggle and defended our color. I have a Black heritage, and I am proud of it. My race is my color, and I am proud of it.
Encuentro de Tambores
1:39:24 - 1:40:00
Coro
Esa, esa Dominé
Esa, esa Dominé
Mi salvatore de viva mue
Versos
Bomba, bomba me cure
Mi Salvatore, ah!
1:51:50 - 1:54:00
Aye ya
Versos
Corta la caña
Caña no muero
Corta la caña Manuel
Corta la caña Manuel
1:56:00 - 1:57:20
Se sa se vre,
Se sa se vre
Es que nuevo bambula
Coro
Se sa se vre
Versos
nov bezwen bambula
eske nou bezwen bambula
Tout moun bezwen bambula
Encuentro de Tambores
1:39:24 - 1:40:00
Coro
Esa, esa Dominé
Esa, esa Dominé
Mi salvatore de viva mue
Versos
Bomba, bomba me cure
Mi Salvatore, ah!
1:51:50 - 1:54:00
Aye ya
Versos
Corta la caña
Caña no muero
Corta la caña Manuel
Corta la caña Manuel
1:56:00 - 1:57:20
Se sa se vre,
Se sa se vre
Es que nuevo bambula
Coro
Se sa se vre
Versos
nov bezwen bambula
eske nou bezwen bambula
Tout moun bezwen bambula
Zafra Fusion Cepeda Part Five
00:28 - 03:22
“En la hacienda Caridad” - Don Rafael Cepeda Atiles Chorus At the Caridad hacienda they dance bomba, at the Caridad hacienda they dance real bomba. Verses At the Caridad hacienda they dance bomba, at the Caridad hacienda they dance real bomba. At the Caridad hacienda they dance bomba, at the Caridad hacienda they dance bomba and nothing more.
Zafra Fusion Cepeda Part Five
00:28 - 03:22
Coro
En la hacienda Caridad se baila bomba, en la hacienda Caridad se baila bomba de verdad
Versos
En la hacienda Caridad se baila bomba, en la hacienda Caridad se baila bomba de verdad
En la hacienda Caridad se baila bomba, en la hacienda Caridad se baila bomba y nada má(s)
Zafra Fusion Cepeda Part Four
16:56 - 21:51
Chorus
The good herb
Verses
Boru cana
(unintelligible)
Zafra Fusion Cepeda Part Four
16:56 - 21:51
Coro
La hierba buena
Versos
Boru cana
(unintelligible)
Zafra Fusion Cepeda Part One
07:00 - 08:00
Narrator: Throughout our history, Black people carried the weight of labor. They cleared the fields, plowed the land, and planted the coastal valleys with the seed of sugar. Understanding this arduous and hostile process of the sugar plantations makes it easier for us to grasp the importance of religion, cultural life, and the customs of Black Puerto Ricans. If we do not understand this essential fact, we will never comprehend their other contributions—such as their imprint on our ethnic formation and their cultural integration into our society. For all these reasons, we must emphasize that sugar and Black slavery were synonymous throughout our history. Over time, there was a shift. Black labor became concentrated in coffee cultivation, which was not very successful. Then Queen Sugar displaced the rich bean, and once again Black hands became responsible for Puerto Rico’s economic development. The contribution of Black people to Puerto Rican society was especially significant in the second half of the 19th century. In 1873, when the number of enslaved people had already been reduced to a minority, the Spanish courts proclaimed: Abolition of slavery!
Zafra Fusion Cepeda Part Two
03:07 - 06:05
Along the blazing Antillean street
goes Tembandumba of the Quimbamba
Rumba, macumba, candombe, bámBula
between two rows of black faces
Before her, a congo, gongo, and maraca
rhythms a conga bomba that swings
Wiggling, the Queen advances
and from her immense hips slip
sexy movements that the gongo solidifies
in rivers of sugar and molasses
Dark sugar mill of sensual harvest
the hips, mass with mass
squeeze rhythms, sweat that bleeds
and the grinding culminates in dance
Along the blazing Antillean street
goes Tembandumba of the Quimbamba
Flower of Tortola, rose of Uganda
for you, bombs and bámBulas crackle
for you, in wild parades
the Antilles burn their ñáñiga blood
Haiti offers you its pumpkins
fiery rums Jamaica gives you
Cuba says to you: go ahead, mulatta
And Puerto Rico, sweet melamba
Are my cocolos of black faces
Thunder drums, vibrate maracas
Along the blazing Antillean street
rumba, macumba, candombe, bámBula
goes Tembandumba of the Quimbamba
06:40 - 07:42
Coro 'Cause I'm going (Carnival) To have fun (Carnival) To dance (Carnival)
Zafra Fusion Cepeda Part Two
08:00 - 17:42
Versos
Yo vi un diablo verde (Pintao' en la cocina) Vejigante está pintao' (De amarillo y colorao') Culebra en la Loiza Siete pescaos
Que yo me voy (Carnaval)
Para Gozar (Carnaval)
Para bailar (Carnaval)