“I don’t want any more post-war Soviet drama.”

▲ Sergei Nakariakov and his flugelhorn. Photo Juan Arturo Brennan

Juan Arturo Brennan

La Jornada Newspaper, Saturday, July 26, 2025, p. 2

Exactly three decades ago, in In 1995, the renowned Russian trumpeter Sergei Nakariakov, then 18 years old, came to Mexico for the first time to play the most important work in the repertoire, Franz Joseph Haydn's Concerto, with the National Autonomous University of Mexico (UNAM) Philharmonic. In June 2025, he returned to perform, with the same orchestra, a flugelhorn version of Tchaikovsky's Variations on a Rococo Theme . After listening in amazement to his rehearsal in the Nezahualcóyotl Hall, I approached him in his dressing room to chat about trumpets and related topics.

–There's a renowned French school of trumpet playing, from Raymond Sabarich to Lucienne Renaudin Vary and David Guerrier, including Maurice André and many others. And a Russian school: Tabakov, Dokschitzer, Savelyevich, and yourself. Are there other trumpet players today who could continue a possible Russian school of trumpet playing?

–In my opinion, there's no such thing as a French school or a Russian school, because you can't say that all teachers, French or Russian, teach the same way. Perhaps orchestral trumpet players, but even among them there are differences in approach and sound. Dokschitzer himself, who was exceptional, had his own way of teaching, different from that of other teachers. So, in my opinion, we could speak of the schools of certain teachers, and nothing more. In France, in the 20th century, we find two main schools: that of Maurice André and that of Pierre Thibaud, who were like competitors, just as their students competed with each other.

–Notable students of Timofei Dokschitzer?

–The most important, Ilya Shkolnik. He played in the Bolshoi Theater Orchestra, left the Soviet Union, and settled in Switzerland; I don't know if he's still active. I heard him play, and his sound was very similar to that of his teacher Dokschitzer. He had other students, but none of them had a great career.

–Since you left the Soviet Union, have you returned to play frequently in any of the republics?

–Yes, I actually played in Russia many times, but I haven't returned since the invasion of Ukraine. I also played in Ukraine, where I haven't returned, and in Belarus, Kazakhstan, Armenia, Georgia, Estonia, Latvia, Lithuania, and Moldova.

–There is a basic repertoire of trumpet concertos by composers from the republics: Arutiunian, Weinberg, Kryukov, Pakhmutova, Geodicke, Vasilenko, Shakhov, Peskin…

–I've never played Goedicke, Peskin, Pakhmutova, Shakhov, or Vasilenko. Many of these works are famous, even in the West. It's very romantic and dramatic repertoire, largely written for Dokschitzer, but I haven't played it because all that music bears the imprint of World War II; it's music composed in the years following the end of the war, and it has that overly dramatic air that I myself have experienced. My family left the Soviet Union when I was 14; I'd had enough of all this postwar Soviet drama, and I don't want any more.

An interesting fact is that during this stage of his career, Sergei Nakariakov has focused particularly on playing the flugelhorn, without neglecting traditional trumpets. At the same time, he has steered clear of natural trumpets and other early instruments because, as he himself says, "Baroque music isn't a language that comes naturally to me, but I enjoy listening to it." In the 1990s, I recorded a Baroque CD, but I did so under pressure from my record label .

Among his current important projects is a Trumpet Concerto by the prominent Russian pianist, conductor and composer Mikhail Pletnev, dedicated to Nakariakov, about which the trumpeter comments:

–I recently premiered Pletnev's Concerto, and we recorded it in Bratislava with the International Rachmaninoff Orchestra under your direction. I can say that your Concerto is tonal, dramatic, sarcastic, and also nostalgic. And I think it has a certain connection with the music of Weinberg and Shostakovich. We'll play it in Singapore in August.

Nakariakov's extensive repertoire contains a good proportion of pieces and concertos originally conceived for other media, and this is reflected in his discography. What's behind this?

–This abundance of transcriptions is due, in equal parts, to my deep love for that music, which I want to play on my trumpet, and to the fact that the trumpet doesn't have as vast an original repertoire as other instruments. Furthermore, there is a lot of original trumpet music that hasn't survived the test of time and has been forgotten.

Note: Nakariakov himself has composed some of these transcriptions; in particular, those he wrote for an upcoming recording project: Mozart and Beethoven for flugelhorn and piano. I'll leave Sergei Nakariakov's family affairs for the end of this dialogue; his father has composed a good number of these transcriptions, and his sister, Vera Nakariakova, a pianist, is his frequent collaborator. Here's her take on the matter:

–I grew up surrounded by classical music, and I often listened to my older sister practicing the piano, so I absorbed a lot of classical music from her, from symphony concerts, opera, and ballet. And I started playing the piano myself, but I wasn't as good as my sister Vera, and I didn't really enjoy it. My father noticed my mortification and suggested I try the trumpet, which is much more fun. He told me that as a child he wanted to play the trumpet, but my grandmother wouldn't let him because of the huge racket he made. So, many years later, he realized his dream through me. Especially when we started playing together, Vera was my musical guide, because I was still immature, and I learned a lot from her. We recorded a CD together, titled Elegía.

Finally, an unexpected tropical connection: Sergei Nakariakov, an extraordinary trumpet player, founded his own record label, which he named Luiza Records, in honor of the eponymous song by the great Tom Jobim.

▲ Sergei Nakariakov and his flugelhorn. Photo Juan Arturo Brennan

Juan Arturo Brennan

La Jornada Newspaper, Saturday, July 26, 2025, p. 2

Exactly three decades ago, in In 1995, the renowned Russian trumpeter Sergei Nakariakov, then 18 years old, came to Mexico for the first time to play the most important work in the repertoire, Franz Joseph Haydn's Concerto, with the National Autonomous University of Mexico (UNAM) Philharmonic. In June 2025, he returned to perform, with the same orchestra, a flugelhorn version of Tchaikovsky's Variations on a Rococo Theme . After listening in amazement to his rehearsal in the Nezahualcóyotl Hall, I approached him in his dressing room to chat about trumpets and related topics.

–There's a renowned French school of trumpet playing, from Raymond Sabarich to Lucienne Renaudin Vary and David Guerrier, including Maurice André and many others. And a Russian school: Tabakov, Dokschitzer, Savelyevich, and yourself. Are there other trumpet players today who could continue a possible Russian school of trumpet playing?

–In my opinion, there's no such thing as a French school or a Russian school, because you can't say that all teachers, French or Russian, teach the same way. Perhaps orchestral trumpet players, but even among them there are differences in approach and sound. Dokschitzer himself, who was exceptional, had his own way of teaching, different from that of other teachers. So, in my opinion, we could speak of the schools of certain teachers, and nothing more. In France, in the 20th century, we find two main schools: that of Maurice André and that of Pierre Thibaud, who were like competitors, just as their students competed with each other.

–Notable students of Timofei Dokschitzer?

–The most important, Ilya Shkolnik. He played in the Bolshoi Theater Orchestra, left the Soviet Union, and settled in Switzerland; I don't know if he's still active. I heard him play, and his sound was very similar to that of his teacher Dokschitzer. He had other students, but none of them had a great career.

–Since you left the Soviet Union, have you returned to play frequently in any of the republics?

–Yes, I actually played in Russia many times, but I haven't returned since the invasion of Ukraine. I also played in Ukraine, where I haven't returned, and in Belarus, Kazakhstan, Armenia, Georgia, Estonia, Latvia, Lithuania, and Moldova.

–There is a basic repertoire of trumpet concertos by composers from the republics: Arutiunian, Weinberg, Kryukov, Pakhmutova, Geodicke, Vasilenko, Shakhov, Peskin…

–I've never played Goedicke, Peskin, Pakhmutova, Shakhov, or Vasilenko. Many of these works are famous, even in the West. It's very romantic and dramatic repertoire, largely written for Dokschitzer, but I haven't played it because all that music bears the imprint of World War II; it's music composed in the years following the end of the war, and it has that overly dramatic air that I myself have experienced. My family left the Soviet Union when I was 14; I'd had enough of all this postwar Soviet drama, and I don't want any more.

An interesting fact is that during this stage of his career, Sergei Nakariakov has focused particularly on playing the flugelhorn, without neglecting traditional trumpets. At the same time, he has steered clear of natural trumpets and other early instruments because, as he himself says, "Baroque music isn't a language that comes naturally to me, but I enjoy listening to it." In the 1990s, I recorded a Baroque CD, but I did so under pressure from my record label .

Among his current important projects is a Trumpet Concerto by the prominent Russian pianist, conductor and composer Mikhail Pletnev, dedicated to Nakariakov, about which the trumpeter comments:

–I recently premiered Pletnev's Concerto, and we recorded it in Bratislava with the International Rachmaninoff Orchestra under your direction. I can say that your Concerto is tonal, dramatic, sarcastic, and also nostalgic. And I think it has a certain connection with the music of Weinberg and Shostakovich. We'll play it in Singapore in August.

Nakariakov's extensive repertoire contains a good proportion of pieces and concertos originally conceived for other media, and this is reflected in his discography. What's behind this?

–This abundance of transcriptions is due, in equal parts, to my deep love for that music, which I want to play on my trumpet, and to the fact that the trumpet doesn't have as vast an original repertoire as other instruments. Furthermore, there is a lot of original trumpet music that hasn't survived the test of time and has been forgotten.

Note: Nakariakov himself has composed some of these transcriptions; in particular, those he wrote for an upcoming recording project: Mozart and Beethoven for flugelhorn and piano. I'll leave Sergei Nakariakov's family affairs for the end of this dialogue; his father has composed a good number of these transcriptions, and his sister, Vera Nakariakova, a pianist, is his frequent collaborator. Here's her take on the matter:

–I grew up surrounded by classical music, and I often listened to my older sister practicing the piano, so I absorbed a lot of classical music from her, from symphony concerts, opera, and ballet. And I started playing the piano myself, but I wasn't as good as my sister Vera, and I didn't really enjoy it. My father noticed my mortification and suggested I try the trumpet, which is much more fun. He told me that as a child he wanted to play the trumpet, but my grandmother wouldn't let him because of the huge racket he made. So, many years later, he realized his dream through me. Especially when we started playing together, Vera was my musical guide, because I was still immature, and I learned a lot from her. We recorded a CD together, titled Elegía.

Finally, an unexpected tropical connection: Sergei Nakariakov, an extraordinary trumpet player, founded his own record label, which he named Luiza Records, in honor of the eponymous song by the great Tom Jobim.

▲ Antonio Machado painted by Joaquín Sorolla in 1918 / collection of the Hispanic Society of America. Photo Wikipedia

Reyes Martínez Torrijos

La Jornada Newspaper, Saturday, July 26, 2025, p. 3

The profound, critical, and republican Spanish poet and intellectual Antonio Machado is the focus of tributes, conferences, and other activities to mark his 150th birthday, which falls today.

In an interview with La Jornada, essayist Hernán Bravo Varela said that Machado evokes the strict and refined beauty of the Castilian landscape; he offers us verses and poems that also contain an intense, self-conscious formal reflection on language that undoubtedly reveals a highly modern author .

In Mexico, the Chamber of Deputies will celebrate Machado (1875-1939) with a poetry reading on July 31.

Various activities have been held in Spain in honor of the Sevillian, including conferences, concerts, and exhibitions. Recently, a commemorative silver coin was issued bearing the writer's image, accompanied by his signature and the inscription "150th Anniversary Antonio Machado ."

At the Soriano Autumn Musical Festival-Castilla y León International Music Festival, a concert will be held on September 6th that includes Álbum de Leonor, a piece commissioned from six Spanish composers, inspired by verses by the honoree, and the premiere of the work Cantares de Machado, where composer Jesús Torres brings together 11 compositions based on texts from Campos de Castilla.

Bravo Varela, who selected Machado's poetry and recorded it for the Cultural Download of the National Autonomous University of Mexico, recalled that he is a poet who began reading at a young age, since his father was also fond of some of his texts, especially Yo voy soñando caminos (I am dreaming roads) , Las moscas (The flies ) and Monotonía de lluvia tras los cristals ( Monotony of rain behind the crystals ).

The translator also recalled that, along with Joan Manuel Serrat's album about Miguel Hernández, he listened to the one based on Machado. "It's beautiful and on par with the other one, although it has gone somewhat unnoticed due to the well-deserved enthusiasm that Hernández's album has garnered."

“I'm reminded of so many moments from Machado and, of course, his Juan de Mairena, a gospel essential for young poets, and not so young and not so poets; it's an impeccable reading that gives us a glimpse into Antonio Machado's profile as part of modern poetic consciousness, a consciousness that sings, a song that is constantly aware of its working methods and musical instruments.”

From introspective to critical

Antonio Cipriano José María y Francisco de Santa Ana Machado Ruiz was born on July 26, 1875, in the Palacio de las Dueñas, Seville. When he was eight years old, the future poet's family moved to Madrid. There, he studied at the progressive school, the Free Institution of Education, where he developed a critical thinking style.

His first collection of poems, Soledades (1903), displayed an introspective and melancholic style. Por Campos de Castilla (1912), already critical of his country's social reality and with profound and sober lyrics, earned him literary acclaim.

From this volume come the celebrated and well-known verses "Walker, there is no path, / the path is made by walking ," from the poem Proverbs and Songs XXIX . These lines became rooted in the collective memory, also through the musical setting of Joan Manuel Serrat.

Machado was also a thinker, essayist, playwright, and a prominent member of the Generation of '98, a group of intellectuals who promoted a regeneration of Spain following the colonial disaster of 1898. He prioritized his defense of the popular movement against dogmatism. During the Spanish Civil War, he staunchly supported the Republican side.

Towards the beginning of 1939, faced with the imminent occupation of Barcelona by Franco's regime, the poet and his family traveled to France. In February 1939, shortly after crossing the border, he died in the small French town of Collioure and was buried there. The official cause of death was severe pneumonia.

In 1940, the first anniversary of Machado's death, the Spanish Cultural Council organized a tribute in Mexico with the participation of Carlos Pellicer, Alfonso Reyes and Xavier Villaurrutia, and three writers from the Spanish Republican exile: José Bergamín, José Puche and Joaquín Xirau.

Hernán Bravo Varela concluded that the presence of Antonio Machado is so alive that the Argentine poet Alejandro Crotto has a significant influence on Machado, “to whom he has dedicated beautiful passages in some of his essays.

Machado's work is an enduring, memorable, and necessary read at times when it seems that the strict, the refined, the refined, the strictly necessary are lost ideals of certain poetry or by certain poetry.

To Mexico , a poem by Antonio Machado dedicated to our country, was found among the personal papers of writer and editor Juan Guerrero Ruiz. There is no information about its place and date of writing, but it appears to have been written during the final days of the Spanish Civil War. The original is in the General Archive of the Spanish Civil War, in Salamanca.

To Mexico

Man of our race, distinguished equite of the highlands between two Sierra Madres, noble for being Spanish and Aztec you have felt solicitous and pious −fatherly smile, brotherly hand− the harsh birth of old Spain and the one in which a new Spain is going to be born You come with love, Mexico, free liberator who carries the banner of all Spains,

May God fill you with light and riches!

Antonio Machado

▲ Andrea Gómez was born in the community of San Andrés Yaá, Oaxaca. Photo courtesy of the Federal Ministry of Culture

From the Editorial Staff

La Jornada Newspaper, Saturday, July 26, 2025, p. 4

Oaxacan writer Andrea Gómez won the first 2025 Bellas Artes Prize for Literature in Indigenous Languages for her book Xaga tlhaz (Peach Cheeks), written in Zapotec, the National Institute of Fine Arts and Literature (Inbal), the body organizing the contest along with the Tlaxcala Ministry of Culture, announced yesterday.

The jury—composed of Celerina Sánchez, Fabiola Carrillo Tieco, and Jaime Sakäsmä—unanimously awarded this collection of stories for their excellent literary quality, reflected in their accessible yet powerfully poetic prose, which maintains narrative tension from beginning to end.

Throughout the work, the author constructs characters with a powerful human character, as they are neither good nor bad, but rather complex and contradictory, ultimately allowing for a clear self-criticism of certain community practices , the minutes state.

The document adds that each text invites reflection on the complexity of our people's thought systems .

In this first edition of the competition, contestants submitted an unpublished book of poetry, short stories, novels, chronicles, creative essays, microfiction, plays, or oral tradition.

In an interview with Inbal, Andrea Gómez explained that Xaga tlhaz is a collection of seven stories that portray violence in rural settings, from the intimacy of the home to the analysis of those who exercise it and those who suffer it.

It's a much more intimate and intimate approach. I portray the violence that occurs within the home, not only from the perspective of those who suffer it, but also from the perspective of those who perpetrate it; that is, to understand what drives people to commit certain acts.

The winner of the CASA (San Agustín Arts Center) Award for literary creation in Zapotec is also confident that this new award will encourage literary creation in indigenous languages.

Above all, this scope was extended to any writing; that is, it wasn't limited to any one genre, but rather all were welcomed.

The 2025 Bellas Artes Prize for Literature in Indigenous Languages consists of recognition and a financial incentive.

Andrea Gómez is Zapotec (Bene Walhall); she was born on April 13, 1990, in the community of San Andrés Yaá, Oaxaca. Her approach to literature arose from the need to tell stories about everyday rural life in the Zapotec language, which is why she has taken creative writing workshops in indigenous languages for the past eight years.

In 2021, she was a Young Creators Fellow. In 2022, she won the CASA Prize for literary creation in Zapotec in the narrative category, and in 2023, she received the CALQ Artist Residency Fellowship in Quebec, Canada.

Myriam Navarro

Correspondent

La Jornada Newspaper, Saturday, July 26, 2025, p. 4

Tepic, Nay., The Nayarit government, headed by Miguel Ángel Navarro Quintero, will be able to continue with the construction of the Nicolás Álvarez Ortega (NAO) soccer stadium, after a federal judge denied the definitive suspension requested in an injunction filed by citizens against the construction of this project.

In her ruling on amparo case 818/2025-III, in which 10 Nayarit women are participating, the third district judge in charge of civil, administrative, labor, and federal amparo cases in Nayarit, Gabriela Hernández Anaya, determined that a construction permit, a mobility report, and an Environmental Impact Statement (EIS) are required.

These documents have already been submitted by the Nayarit government, allowing the project, located west of Tepic, to continue. The project will require an investment of more than 300 million pesos.

The construction of this sports center has been highly controversial, with opposing views among supporters, such as former soccer player Marcelino Bernal and local residents, and groups, mostly made up of young people, who oppose the removal of the City of the Arts.

These groups took action to stop the project, including establishing permanent guards in the area, hosting musical performances, and filing legal challenges. They also argued that the removal of trees from the site was another reason to oppose any construction in the area.

However, with this court ruling, Tepic will once again have the Nicolás Álvarez Ortega stadium, demolished in 2009 by then-governor Ney González Sánchez (PRI). He pledged to build socially impactful projects on the site, but left office in September 2011 without fulfilling that commitment, leaving the site abandoned.

On May 31, when the current project began, Nayarit's Infrastructure Secretary, Raquela Araujo, announced that 16,700 square meters of the site would be built.

The stadium will have a capacity for 12,564 spectators and is expected to take 18 months to build.

Araujo stated that the project will allow the state to have a stadium suitable for hosting a second division team, in accordance with FIFA requirements. In addition, a 600-square-meter area will be included for the State Music School and a Hall of Fame.

The governor noted that this project will boost the area's economic growth, provide more and better spaces for athletes—keeping them away from vices—and will serve as a meeting point for families.

▲ Photo Ap

La Jornada Newspaper, Saturday, July 26, 2025, p. 4

A deteriorating graffiti attributed to Banksy, titled "The Migrant Child," was removed by art restorers from the side of a palace overlooking a Venetian canal to preserve it for future public display. The removal from the wall of Palazzo San Pantalon was carried out in consultation with people close to the enigmatic British graffiti artist, according to the art program of Venice-based Banca Ifis, a bank that promotes culture and the arts. The piece, depicting a shipwrecked child holding a pink smoke flare and wearing a life jacket, appeared on the riverbank of San Pantalon in Venice in May 2019 and was recognized by Banksy. After becoming popular for being marked on online maps, it has become a tourist destination. However, six years of neglect had led to the deterioration of about a third of the work, the bank said. The bank is financing the removal and restoration project, but did not disclose the cost or completion timeline.

▲ Prieto Hernández (standing, center) participated in the opening of the Afro-descendant Women's Gathering at the National Museum of Popular Culture. Photo: Germán Canseco

Alondra Flores Soto

La Jornada Newspaper, Saturday, July 26, 2025, p. 5

A week after his appointment as head of the newly created Strategic Unit for Living Cultures, Intangible Heritage, and Interculturality, anthropologist Diego Prieto Hernández said in an interview with La Jornada that the Mexican government needs to focus on implementing a robust public policy on community outreach and attention to living heritage.

He briefly outlined the four basic functions of this new area of the federal Ministry of Culture: research, promotion, safeguarding and dissemination, in a vision that is more necessary at this time of transformation, of recognition of plurality and of the configuration of Afro-Mexican peoples as subjects of public law .

He stated that these cultural expressions will continue to be studied, especially because they are constantly changing in their vitality, but the research we will promote is more participatory, action-oriented, we call it. That is, it will not simply extract ethnographic data to write an anthropology book, but above all, it will aim to generate knowledge from the community, with the community, and for the community .

Participating in the inauguration of the Meeting of Afro-descendant Women at the National Museum of Popular Culture, in one of the first public activities after assuming his new position, he joked: “Today, a colleague asked: 'Why living cultures, when there are dead ones?' Of course! I have never greeted a Teotihuacan, much less an Olmec,” said the official, accustomed to being among the pyramids, the cultures captured in stone and monuments, which are also very good .

Prieto Hernández explained that living heritage, according to the United Nations Educational, Scientific and Cultural Organization, is not preserved, but safeguarded. When we have monumental heritage, we do talk about conservation, one of the tasks of the National Institute of Anthropology and History (INAH).

But, he added, expressions of living heritage—those whose creation and recreation involve the intervention of their bearers, communities, and sociocultural environments—are by nature always subject to a process of continuous change and transformation.

He asked for an understanding of the term "cultural promotion," another action to be undertaken, with the idea that this action involves contributing to a movement driven by the people, not the State. Institutions promote and support cultural processes that address what Guillermo Bonfil would call the cultural control of peoples and communities; that is, allowing them to take ownership of their cultural processes and expressions and, therefore, acquire empowerment .

He then defined that speaking of safeguarding has to do with how the State and institutions create the conditions for the reproduction of cultural expressions.

Every living cultural expression involves a set of different conditions, such as territorial, environmental, and social ones. Therefore, it is very important to understand that when we talk about intangible heritage, we are not referring only to ethereal things, but to something that is based on tangible supports.

Alondra Flores Soto

La Jornada Newspaper, Saturday, July 26, 2025, p. 5

We, black, coastal women, but also historically marginalized and impoverished, when we begin to name the margins in which we have lived, it causes conflict , said Aleida Violeta Vázquez Cisneros, who represented the female voice at the inauguration of the Meeting of Afro-descendant Women, at the National Museum of Popular Cultures (MNCP).

Faced with a system that has made us uncomfortable all our lives simply by existing, today, as a political stance, I love to provoke discomfort in those who listen to us , she stated, while thanking a space that is the result of a collective struggle planted with a seed of at least 500 years, where Black women have resisted with words, work, and knowledge.

A poet, activist, and artisan from Cuajinicuilapa, Guerrero, a coastal town in the south where Blackness is prevalent , called for people not to search for them solely on July 25, International Day of Women of African Descent.

The word "inclusion" causes me a lot of trouble because it implies that we have never been part of public policy or society itself . At the same time, I express my gratitude for the spaces that represent constant recognition on the path to historical reparation for women and people of African descent.

Surrounded by dances of devils and runaway sirens, music from the leeward side of the southern Ariles, poetry and literature, the broad textile tradition, gastronomy, and a craft fair from the Costa Chica region of Guerrero and Oaxaca, the knowledge and resilience of the third Mexican root were evident.

At the start of activities within the Creators of Dreams and Realities program, Diego Prieto Hernández, head of the Strategic Unit for Living Cultures, Intangible Heritage, and Interculturality, announced that 42 women exhibitors, artisans, activists, composers, and dancers from the Costa Chica and Chacalapa regions of Veracruz will participate, starting yesterday and continuing tomorrow.

She stated that the meeting is an effort to vindicate women and Afro-Mexican communities, although much remains to be done in the fight against racism, discrimination, classism, and exclusion.

Activities continue today and tomorrow at the museum located at 289 Hidalgo Avenue in the Carmen neighborhood of Coyoacán.

This Saturday at noon, a lecture will be offered on Afro-descendants: The Role of Women in the Long Struggle for Recognition. This will be followed by a musical performance by Las Nietas de Nicolás. At 4:00 PM, a discussion panel will take place on Afrohistorias: Memory, Resistance, and Power. At 5:00 PM, a fandango jarocho will be performed.

Tomorrow, three of the most traditional dances of the Afro-descendant community will be presented: the Diablos de El Quizás at 11:00 a.m., the Sirenas Cimarronas at 1:00 p.m., and the San Juan Colorado masked dance at 4:00 p.m. All activities are free.