Sancfanga
not a style. It is a namn used by
business people to market the
tropical music of Latin
America." he said.
The consequences of such
labeling can be both good and
bad, Morales said
"It is good because the music
is on the market for people to
hear, but it is bad because the
history and the identity of the
music is lost It borrows the
rhythm and identity of each
country," he said
These rhythms may be famil
iar by name even if they are not
easily identifiable by the aver
age listener. The "cumbia" from
Colombia, the "raambo,"
"rumba,"and "cha-cha-cha"
from Cuba and the "merengue"
from the Dominican Republic
are some examples.
The members of Sandunga
play various instruments that
originate from the indigenous
and mestizo cultures of Latin
America. One such instrument
is the "charango." which result
ed from the blending of indige
nous and Spanish cultures.
Morales said. It is a guitar made
from the shell of an armadillo
that was created by indigenous
people who were influenced by
the introduction of the guitar by
the Spanish.
Another
instrument
used by the
group is the
"ocarina." a
clay flute
Morales plays
the ocarina
and said that
IhtT*1 Vmhe!’- Sandunga playa a variety ol muale from Latin
' . T America.
Ill IU» Ct Mill ll/'l
tion to the blending of musical
instruments and styles that took
place after the arrival of the
Spanish.
To expand the repertoire of
the group and to revive folk tra
dition, Morales has visited
museums in Mexico that con
tain instruments that were used
by pre-Columbian indigenous
people.
Morales said that the folk tra
dition has been preserved not
only in museums that house the
artifacts of the culture, but also
in the traditional music played
at festivities, funerals and
churches of communities
“Most music is a reflection of
the place that you live.” he said
While the mission of
Sandunga has remained con
stant over the years, the mem
bers of the group have come and
gone. The two original members
of the group are Morelos and his
wife Mary O'Connor. Willi the
exception of past member
Enrique Rios and current mem
bers Alejandro Gonzales ami
Julio Jauregi. Sandunga mem
bers are not professional musi
cians Feme 11 Lope/ and Freddy
Vilches. who are both currently
students at the University, are
also members of Sandunga
Sandunga plays at various
folk festivals including the
Willamette Valley Folk Festival
In addition to playing at the
Eugene Celebration every year.
Sandunga spends the summer
touring migrant farm worker
camps with the theater group
Teatro Nuestro When they do
this tour they travel to a differ
ent camp nearly every day and
visit camps in Oregon.
California. New Mexico and
Colorado
Thm caat of Real Woman ‘ arm Maria Caaaa, Angle Slfuantez,
Alexandria Scholaa, Pam Millar and Eileen Fonaaca.
'Real
Women'
has fun
with real
issues,
real life
By Freya Horn
Entertainment Editor
Five Mexican-American women are in a sweat
shop in Los Angeles frantically trying to finish
sewing 100 dresses in time. They am motivated to
meet this nearly impossible deadline not by the
fear of getting fired, but by the fear of "La Migra.”
the U S. Immigration and Naturalization Service.
The owner of the sewing factory needs the
dresses so she can afford to get a green card
through a lawyer.
Just when it seems the pressure is too much to
handle, the women cope by stripping down to
their underwear and comparing fat with one
another.
"Heal Women Have Curves," a comedy written
by Josephina Lopez, is directed by Theresa
Gurririo for Martin Luther King Theater and will
show at the WOW Hall on Oct. 23 and 24 at 7:15
p m. and Oct. 25 at 1:30 p m.
Lopez based the play on her own experience as
an illegal alien working at her older sister's facto
ry near her family's home in East Los Angeles.
Lopez had to live in Inn United States without a
green card, a proof of legal residency, until she
was 20 years old because her parents brought her
over the border by using her sister's birth certifi
cate. Although her parents, her sister and her
brother were legal, she had to live in constant fear
of being deported because of the quota imposed
on her parents.
However. Lopez never let this fact stop her
from pursuing her dreams She wanted to go to
college and be an actress or a writer. When she
was 17 years old in 1987, she was inspired by her
classes at the Los Angeles Theatre Center's Latino
Theatre Lab and wrote "Simply Maria, or The
American Dream," an emotionally compelling
play about the inner struggle of trying to unite her
Mexican heritage with the feminism and freedom
of speech of the United States. She sent it to the
Young Playwrights Festival in New York, which
named her a semifinalist, and to the Gaslamp
Quarter Theatre's California Young Playwrights
Project, which named her a winner.
Turn to ‘Real Woman,' Page 10
Sharp Minds
Are Drawn
To Challenge.
Marines
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