During the 1960's and 1970's, Latin American progressive musicians began performing and recording music which spoke directly to the poor and oppressed peoples of their countries and Latin America regarding their collective social condition.  In many countries this artistic expression was a way around the strictures imposed by dictatorships on free political speech.

The American equivalent of the 'New Song' tradition is probably best reflected by the music of progressive artist such as Ritchie Havens, Bob Dylan, and those thousands of artists who lent their talents to the movements in support of the Civil Rights movements in 1960's and '70's America.

WPFW, 89.3-FM in Washington, DC has Latin music programming Monday through Friday,  from 9  to 10 PM. Much of the music played on those programs is of the 'New Song' tradition.  Tuesday night's programmer plays more traditional 'New Song' material, which tends to be on the folkloric side of musical styles.  Other programmers focus more on modern danceable Afro-Caribbean music, which also reflect expressions of the aspirations of oppressed peoples.

Here in Washington, DC, The Wilson Center was host to dozens of human rights fairs and festivals during the late 1970's and early 1980's.  These events were organized around providing a traditional Latino expression to political organizing and fundraising for community organizations and for groups fighting for human rights in El Salvador, Nicaragua and Guatemala.  Indigenous cultural events were also a feature of cultural celebrations at Centro Wilson. The New Song Movement's local exponents, Latino and American, found in the Wilson Center a friendly community social space to grow and present their art.  They shared that space with Latino musicians of all beliefs and musical styles.

In addition to El Centro de Arte, the Latin American Youth Center, then in the same complex, provided space for the Escuela de Rumba (school of Rumba), which existed from 1978 to 1982.  This community music school was founded by veteran Latin and Latin Jazz musicians Maria Rodriguez and Luis Salome, as well as Dominican singing star Camboy Estevez and local journalist Jose Sueiro, director of DC's largest Latino newspaper: La Nación).

Maria Rodriguez, an African American music teacher for over 30 years in the DC Public Schools and at the University of Maryland, trained many local Latin musicians in piano, theory, voice, orchestration, arrangement and composition.  A co-founder of the School of Rumba, Maria was a giant in the Latin-Jazz and Latin-Salsa music scene here in Washington, DC since the late 1950's when she performed with Latin percussionist Paul Hawkins.  Her Thursday night rehearsals with her 14 piece Latin big band, held in her basement on 13th St. NW were a true DC institution.  Hours of hard practice, laughter and always serious home cooked food after the hard work.  Many Salsa veterans in DC learned their craft from Maria.  Her daughter, June Butler, who recorded on the original Cosby Show Latin theme, carries on her mother's tradition, being a veteran music teacher in the DC public schools and an accomplished Jazz pianist and recording artist.

Afro-Cuban Bassist and folklorist Luis Salomé, who spent more than 40 years in the DC area, was a member of many top Cuban bands in the 1940’s.  His house was the place where music star percussionist Mongo Santamaria and other famous Latin artists would stay when in town.  The school of Rumba was largely the idea of Don Luis Salomé, who taught Afro-Cuban folklore there.

Close by to the Wilson Center complex exists the Bell Multicultural High School.  Nicaraguan composer and trumpet player Alfredo Mojíca, Sr. was a music teacher at Bell, and was a famous Latin-Jazz band leader in DC for several decades, continuing to perform live even after serious heart surgery.  His son, top Latin percussionist Alfredo Mojíca, Jr. carries on his father's traditions.

Together these three veterans of the Washington, DC area Latino Music Scene provided local musicians with the knowledge of our ancient multicultural musical roots together with a solid foundation in music theory.

While Maria Rodriguez, Luis Salomé and Alfredo Mojíca, Sr., local giants in Latin music, with careers dating back to the late 1950's in DC's Latin and Jazz music scene have passed on to the other side, they are warmly remembered.  They are the spiritual ancestors of many of those who play on our stages today. They provided much of the musical training and experience in both folkloric and commercial styles of Afro-Cuban and other Caribbean Salsa, Merengue, Cumbia and Latin Jazz for professional musicians and other interested students.  The musicians who participated in The School of Rumba have since that time (1978 to 1982) formed the base of the veteran talent playing in DC's local commercial Latin dance bands.

The July 11, 1999 New Song Festival was dedicated to María Rodriguez, Luis Salomé and Alfredo Mojíca, Sr.  Their decades of tireless and patient work in teaching musical culture lives on in the dozens of talented local musicians who were lucky enough to cross their paths.

The Centro de Arte's percussion workshop, a descendent of 'LA Escuela de Rumba' performed on July 11th under the leadership of star Puerto Rican percussionist José López, a former fellow student at La Escuela de Rumba.  Musicians of the Lilo Gonzalez and his ‘Los de la Mount Pleasant’ (The folks from the Mount Pleasant barrio) Latin band, musicians of the Luciano Castro band and other musicians present also represented the legacy of what Doña Maria, Don Luis and Don Alfredo have left in this community, on this corner and in our hearts.

Another cultural landmark existing on this corner is El Centro de Arte.  Since the mid 1970’s El Centro de Arte has played a key role in developing Latino performance and graphic arts talent in this community.  They provide performance space, music education and other resources to many local Latino musicians, had their own in-house theater group 'El Teatro Nuestro' (Our Theater) and supported Latino graphic artists, providing gallery space to them.  Also connected to El Centro de Arte in the 1970’s and 1980’s was the local folkloric quartet Rumisonko (Heart of Stone in Quechua, a language of the Inca Empire) directed by local graphic artist Carlos Arrien.  Originally founded by Carlos and other Bolivian and Chilean students at nearby Montgomery College in Maryland, Rumisonko was the first Andean music group in DC, performing Bolivian, Peruvian, Ecuadorian, Chilean and other folkloric music, fusing the Indigenous Inca bamboo panpipes and flutes with Spanish Guitar, and the Charango (a small 10 string ‘Indigenous mandolin’ made from an armadillo shell).  DC now counts dozens of such groups, but Rumisonko was first on the scene.

Veteran African American Blues, Latin and progressive music performer Luci Murphy, who performed July 11^th with daughter Topaz and fellow musician Peter Jones, was and is an important contributor to DC’s unique multicultural version of ‘New Song’ and other progressive, Jazz and Blues vocal music.

Last but not least veteran percussionist and band leader Luciano Castro and his orquesta performed.  He and some other members of this top-notch Dominican Merengue music dance band have performed in DC since 1965!  

...And not forgetting the many other Latino performing groups who are not part of my resume and had/have deep ties to Wilson Center: Lilo Gonzalez y Los de la Mount Pleasant, Paul Hawkins and "La Jazz," Peligro, Orquesta Melao, Rumba Club, Acaramelao, Lita Branda, Super Combo Melodia, Izalco, Mezcla, Xiomara and many others.

Los Profesionales Band - 1990 at the Latino Festival on the Smithsonian Natural History Museum Stage.

Leader Ramon Lara (2nd right), Chuck Goolsby (right) 

Rumiñahui

Folkloric music and dance from Ecuador

OAS building, Washington, DC - circa 1986.

Marta Romero, Director.

Chuck Goolsby (2nd/right, back row).