This is not America Residente
00:32
En esta siguiente escena del video musical de Residente vemos a un niño vestido con atuendo indígena, de pie en medio de imágenes de violencia y protesta. Las imágenes de niños indígenas continúan apareciendo a lo largo del video, asociadas con la memoria cultural, la protesta, la opresión y el imperialismo.
01:06
En este siguiente fotograma vemos a cuatro policías sujetando a un manifestante indígena por las extremidades, mientras la persona indígena grita en un gesto de desafío.
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.
08:14
Margarita Tata Cepeda: They brought their religion, they brought their music, they brought everything. New Speaker: And so, of course, many people communicated more through a form that different regions did share: rhythmic genres, forms of bodily communication. Well, look, they had to release all that fury, all that anger, all that feeling. How did they do it? They would gather on Saturday nights in the sugarcane fields, hidden from the overseers, to dance bomba.
31:34
I’m looking for a tree that gives me shade That gives me shade That gives me shade I’m looking for a tree that gives me shade Because I’m feeling hot, it’s getting to me I’m looking for a tree that gives me shade Ay, and if it’s handsome, let it let me kiss it I’m looking for a tree that gives me shade Ay, and if it’s good, in my loneliness I’m looking for a tree that gives me shade Ay, one that is very lovely, like the ylang‑ylang I’m looking for a tree that gives me shade One that won’t leave me, that will have mercy I’m looking for a tree that gives me shade
52:35
His drum sounds so that my whole house can hear it
His drum sounds, thus my soul and my heart rejoice
Alert, my people!
A runaway slave escapes
Down the mountain
Night and day
Escaping the hot iron that marked his life
He follows the sound of drums that his goddesses lead him with, guiding him while a prayer rises to the sky
The meeting that precedes the great escape is heard in songs, and at dawn our story arrives, feeding a memory that fights against the oblivion of its passage.
1:34:42
“I Am Free”
I am free, I am free
Free like the river that flows into the sea
Free are the words that leap from my mouth
Freely I decide and achieve what I want, and although my body may be bound
It is my mind that I elevate
Free is the air I breathe from the moment I am born
Until my last breath
Free like the soil of an island that expands
Free is my people, and they do not surrender in the face of bullets
Free, and I am free
Free, and I am free
Raices - Raices_Annotations_Spanish
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.
52:35
Suena su tambor pa' que se sientan toda mi casa
Suena su tambor que asi se alegra mi alma y mi corazón
Alerta mi raza
Se escapa un cimarrón
Monte abajo
Noche y dia
Escapando del hierro caliente que marcó su vida
Sigue el sonido de tambores que los llevan sus diosas lo guia mientras al cielo una oración se eleva
La reunian que precede la gran fuga se oye en cantos y en la madrugada llega nuestra historia que alimienta una memoria que lucha contra a el olvido de su paso pega
1:34:42
Soy libre, soy libre, libre como el río que en el mar desemboca
Libre las palabras que saltan de mi boca
Libre decido y alcanzo, lo que quiero y aunque presto esté mi cuerpo
Es mi mente la que elevo
Libre es el aire que respiro desde el momento en que nazco, hasta el último suspiro
Libre como el suelo de una isla que se expande
Libre es mi pueblo y ante balas no se rinde
Libre, y soy libre
Libre, y soy libre
Twenty Twenty Five Encuentro de Cantaoras - 2025_Encuentro de Cantaoras_EN
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
50:56
"Caminando" Ausuba I keep on walking through life Walking, marking a steady step And I keep on walking and I keep on walking Walking through life, walking Marking a steady step And I keep on walking and I keep on walking Through life, walking, marking a steady step And I keep on walking and I keep on walking Through life, walking, marching with a steady step Walking day by day, many times I found myself And along that path I faced a thousand things And I keep on walking with life Walking, marking a steady step And I keep on walking with a steady step I keep on walking, brushing off Anything that tries to take my bread away And I keep on drumming and I keep on walking With life, walking, marking a steady step Some people ask me How I keep moving I just follow the heart So the wind won’t carry me away And I keep on walking with life Walking, marking a steady step And I keep on walking little by little through life I will keep singing the cheles while walking Walking to the top — I will get there And I keep on walking through life Walking, marking a steady step Some people ask me why I keep moving I just follow the heart so the wind won’t carry me away And I keep on walking through life Walking, marking a steady step And I keep on walking with life Walking, marking a steady step And I keep on walking, sweating the big drop What a sweet warmth from Loíza, from the love Dedication So we’re good — this tasty song From Chicago to Puerto Rico I dedicate it To all the beautiful people here today And congratulations to all the cantadoras From our elders to those who started as babies This role of the singer is still important Because that’s where the history is — that’s where we learn so much Thank you, Usua, for the invitation to share with you I have arrived, I have arrived, I have arrived walking I have arrived, I have arrived, I have arrived walking Step by step I will get there Let the seed I planted guide me I have arrived, I have arrived walking From Chicago I come singing Oh I arrived, oh yes I arrived I have arrived, I have arrived, I have arrived walking I have arrived, I have arrived, I have arrived walking
Twenty Twenty Four Encuentro de Cantaoras - 2024_Encuentro de Cantaoras_Annotations_ES
50:56
Alguna gente me pregunta por qué sigo en movimiento Solo sigo al corazón para que no me lleve el viento Y yo sigo caminando por la vida Caminando un paso firme marcando Y yo sigo caminando con la vida Caminando un paso firme marcando Y yo sigo caminando sudando la gota gorda Qué rico calorcito de Loíza del cariño
Dedicatoria Así que estamos buenos esta canción sabrosa Desde Chicago Puerto Rico se la dedico A toda la gente bella aquí presente Y felicidades a todas las cantadoras Desde nuestras mayores hasta los que empezaron bebés Todavía este rol del cantador o la cantadora es importante Porque ahí está la historia ahí es que aprendemos un montón Gracias Usua por la invitación de poder compartir con ustedes He llegado he llegado he llegado caminando He llegado he llegado he llegado caminando Pasito a pasito yo llegaré Que me guíe la semilla que sembré He llegado he llegado caminando Desde Chicago yo vengo cantando Ay yo llegué ay sí llegué Cierre He llegado he llegado he llegado caminando He llegado he llegado he llegado caminando
Twenty Twenty Two Encuentro de Tambores - 2022_Encuentro de Tambores_EN
1:51:50
Aye ya
Versos
Corta la caña
Caña no muero
Corta la caña Manuel
Corta la caña Manuel
Twenty Twenty Two Encuentro de Tambores - 2022_Encuentro de Tambores_ES
1:51:50
Aye ya
Versos
Corta la caña
Caña no muero
Corta la caña Manuel
Corta la caña Manuel
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!
This is not America Residente
00:32 - 00:39
En esta siguiente escena del video musical de Residente vemos a un niño vestido con atuendo indígena, de pie en medio de imágenes de violencia y protesta. Las imágenes de niños indígenas continúan apareciendo a lo largo del video, asociadas con la memoria cultural, la protesta, la opresión y el imperialismo.
01:06 - 01:07
En este siguiente fotograma vemos a cuatro policías sujetando a un manifestante indígena por las extremidades, mientras la persona indígena grita en un gesto de desafío.
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.
08:14 - 08:42
Margarita Tata Cepeda: They brought their religion, they brought their music, they brought everything. New Speaker: And so, of course, many people communicated more through a form that different regions did share: rhythmic genres, forms of bodily communication. Well, look, they had to release all that fury, all that anger, all that feeling. How did they do it? They would gather on Saturday nights in the sugarcane fields, hidden from the overseers, to dance bomba.
31:34 - 32:00
I’m looking for a tree that gives me shade That gives me shade That gives me shade I’m looking for a tree that gives me shade Because I’m feeling hot, it’s getting to me I’m looking for a tree that gives me shade Ay, and if it’s handsome, let it let me kiss it I’m looking for a tree that gives me shade Ay, and if it’s good, in my loneliness I’m looking for a tree that gives me shade Ay, one that is very lovely, like the ylang‑ylang I’m looking for a tree that gives me shade One that won’t leave me, that will have mercy I’m looking for a tree that gives me shade
52:35 - 53:08
His drum sounds so that my whole house can hear it
His drum sounds, thus my soul and my heart rejoice
Alert, my people!
A runaway slave escapes
Down the mountain
Night and day
Escaping the hot iron that marked his life
He follows the sound of drums that his goddesses lead him with, guiding him while a prayer rises to the sky
The meeting that precedes the great escape is heard in songs, and at dawn our story arrives, feeding a memory that fights against the oblivion of its passage.
1:34:42 - 1:35:37
“I Am Free”
I am free, I am free
Free like the river that flows into the sea
Free are the words that leap from my mouth
Freely I decide and achieve what I want, and although my body may be bound
It is my mind that I elevate
Free is the air I breathe from the moment I am born
Until my last breath
Free like the soil of an island that expands
Free is my people, and they do not surrender in the face of bullets
Free, and I am free
Free, and I am free
Raices
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.
52:35 - 53:08
Suena su tambor pa' que se sientan toda mi casa
Suena su tambor que asi se alegra mi alma y mi corazón
Alerta mi raza
Se escapa un cimarrón
Monte abajo
Noche y dia
Escapando del hierro caliente que marcó su vida
Sigue el sonido de tambores que los llevan sus diosas lo guia mientras al cielo una oración se eleva
La reunian que precede la gran fuga se oye en cantos y en la madrugada llega nuestra historia que alimienta una memoria que lucha contra a el olvido de su paso pega
1:34:42 - 1:35:37
Soy libre, soy libre, libre como el río que en el mar desemboca
Libre las palabras que saltan de mi boca
Libre decido y alcanzo, lo que quiero y aunque presto esté mi cuerpo
Es mi mente la que elevo
Libre es el aire que respiro desde el momento en que nazco, hasta el último suspiro
Libre como el suelo de una isla que se expande
Libre es mi pueblo y ante balas no se rinde
Libre, y soy libre
Libre, y soy libre
Twenty Twenty Five Encuentro de Cantaoras
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
50:56 - 56:38
"Caminando" Ausuba I keep on walking through life Walking, marking a steady step And I keep on walking and I keep on walking Walking through life, walking Marking a steady step And I keep on walking and I keep on walking Through life, walking, marking a steady step And I keep on walking and I keep on walking Through life, walking, marching with a steady step Walking day by day, many times I found myself And along that path I faced a thousand things And I keep on walking with life Walking, marking a steady step And I keep on walking with a steady step I keep on walking, brushing off Anything that tries to take my bread away And I keep on drumming and I keep on walking With life, walking, marking a steady step Some people ask me How I keep moving I just follow the heart So the wind won’t carry me away And I keep on walking with life Walking, marking a steady step And I keep on walking little by little through life I will keep singing the cheles while walking Walking to the top — I will get there And I keep on walking through life Walking, marking a steady step Some people ask me why I keep moving I just follow the heart so the wind won’t carry me away And I keep on walking through life Walking, marking a steady step And I keep on walking with life Walking, marking a steady step And I keep on walking, sweating the big drop What a sweet warmth from Loíza, from the love Dedication So we’re good — this tasty song From Chicago to Puerto Rico I dedicate it To all the beautiful people here today And congratulations to all the cantadoras From our elders to those who started as babies This role of the singer is still important Because that’s where the history is — that’s where we learn so much Thank you, Usua, for the invitation to share with you I have arrived, I have arrived, I have arrived walking I have arrived, I have arrived, I have arrived walking Step by step I will get there Let the seed I planted guide me I have arrived, I have arrived walking From Chicago I come singing Oh I arrived, oh yes I arrived I have arrived, I have arrived, I have arrived walking I have arrived, I have arrived, I have arrived walking
Twenty Twenty Four Encuentro de Cantaoras
50:56 - 56:38
Alguna gente me pregunta por qué sigo en movimiento Solo sigo al corazón para que no me lleve el viento Y yo sigo caminando por la vida Caminando un paso firme marcando Y yo sigo caminando con la vida Caminando un paso firme marcando Y yo sigo caminando sudando la gota gorda Qué rico calorcito de Loíza del cariño
Dedicatoria Así que estamos buenos esta canción sabrosa Desde Chicago Puerto Rico se la dedico A toda la gente bella aquí presente Y felicidades a todas las cantadoras Desde nuestras mayores hasta los que empezaron bebés Todavía este rol del cantador o la cantadora es importante Porque ahí está la historia ahí es que aprendemos un montón Gracias Usua por la invitación de poder compartir con ustedes He llegado he llegado he llegado caminando He llegado he llegado he llegado caminando Pasito a pasito yo llegaré Que me guíe la semilla que sembré He llegado he llegado caminando Desde Chicago yo vengo cantando Ay yo llegué ay sí llegué Cierre He llegado he llegado he llegado caminando He llegado he llegado he llegado caminando
Encuentro de Tambores
1:51:50 - 1:54:00
Aye ya
Versos
Corta la caña
Caña no muero
Corta la caña Manuel
Corta la caña Manuel
Encuentro de Tambores
1:51:50 - 1:54:00
Aye ya
Versos
Corta la caña
Caña no muero
Corta la caña Manuel
Corta la caña Manuel
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!