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 See C.i|)tain \tar\ 1 hompson, AM -MM) I’M .it the I ishlxm I Spec i.il evening presentation on female t areer opportunities 1 -Ii(l()-‘I44 tl) 1 (>. \if * AOWWmucm r** %% mt U-tv U • Tv; m« «*vf * ». >9 *X< l»? -KXKj 9V * N r •*«*'«« i it »»***♦« im AIMI Mi 4v« _ ' *■ H t A l T M CARS If A RIGHT! ■» ». 0 r~ir MiaMU 700. • 14 $3 AU SHOWS san*r r~ -- ' HO OtSCOUMTS Oft PASSfS Um\ fttel 400 nunnen THE DIRECTOR S CUT, lA waixh torn o%m M« calimoah m OCT n WHAT% MA?#«MMO’ Nightly S JO (Wk MS "HYSTERICAL!" FEED t Corner »om Wumnwg Few FhiHim Nightly • JO Sun M a l J 00 A i BIJOU t All MTt l*#f*i* ham ?* Sri il So fit 12 *0 BUOU lATf NTT I • BIJOU l ATI MiTf *tf fcllf Mil • t I MriuSmir nu1 (i RealH Become Her -I YOU'RE BACK YOUR NECK YOUR LEGS YOUR ARMS Your whole body needs our soothing hot tubs, Come relax your limbs in our open air settings. 'risen MOUWY HOT TUD MnUI 1883 GARDEN AVE. across Franklin from UO campus 345-9048 LYLE LOVETT and his LARGE BAND Mon. Nov. 9th at 8pm Hult Center Tickets Available at the Mutt Center Bos Office or ClwphhoM' (503) M7-5000 cuxidQ