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History of la festival de la calle ocho
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Twenty Years of Calle Ocho
Over the years, the Calle Ocho festival has brought hundreds of smiles to thousands of people. Behind the smiles, the laughter, and the dances, there is a serious side to the festivities. In the beginning, Willy Bermello just wanted a little backyard get-together that would bring neighbors closer, but the festival turned into something much, much bigger. With the festival's growth and inevitable commercialization, Bermello increasingly felt that its importance was being forgotten. He wanted to let people know this was more than just a big party. He wanted people of different races and different ethnicities to be able to feel comfortable with each other, and not just for one day. He wanted Calle Ocho's influence felt throughout the year.
In 1998, Cuban refugees are still being held captive in camps at Guantanamo Bay, Cuba. Many refugees left Guantanamo last year in hopes of reaching America, but unfortunately, few have yet to make it here. In the hearts of many people, there lies the hope, that, by the next festival, those Cubans wishing to be in South Florida will be able to celebrate the festival with their friends and family. On Calle Ocho, people of all races and backgrounds are helping to make the Cuban exile community party a success. It has been a difficult year for divided families everywhere. Many of the proceeds from various stands at the festival go to giving financial aid to Cubans who are brought over from the island. A portion of the festival proceeds go to support Operation Angel; the MCI long-distance telephone tents are giving away five minutes of free calling time. This calling time gives families the chance to call Cuba; many are calling their families for the first time. Furthermore, T-shirt stands are raising money to help those still interred in camps.
Block after block, people from all over are packed in Little Havana; they form a river of cultural unity. Unfortunately, the Calle Ocho festival of 1996 was cancelled due to the ill-fated shooting down of four Cuban exile aviators, from the Brothers to the Rescue organization, by Cuban warplanes on February 24, 1996. People who attended the festivals after that incident maintain, in their hearts, the memories of those pilots who gave their lives to help refugees in need.
With white Brazilians willing to pay for the most expensive costumes and taking up more roles in the parade, blacks, who were more financially limited, were left with the dancing roles on the ground surrounding the floats. Guillermoprieto creates an image of the role of whites in the Carnival parade: “floating above the masses are the stars—white women and men, by and large, theoretically the most prestigious figures in the parade. Whether they are representing Princess Isabel or the god Xangô they hardly move or act; they glitter, virtually immobilized by the weight and volume of bulky costumes from which only faces and hands protrude” (Guillermoprieto, 181). This claim over the more coveted roles in the parade demonstrate a continued subordination of black expression and
The investigation identifies the motivating factors that drove Cuban parents to send their children unaccompanied to the United States between 1960 and 1962 in an event known today as Operation Pedro Pan. In addition, the investigation evaluates the parents’ actions and the risks associated with separating children from their families in the midst of political instability in order to determine whether the parents’ choice was justified. To do this, two primary source journals, one written by the founder of the operation, as well as multiple first hand recollections from Pedro Pan children are utilized. In addition, a number of historical articles and books published in the years following Operation Pedro Pan are used to learn of the controversy surrounding the event and to gain an understanding of the situation in Cuba during Fidel Castro’s regime.
Death of course by assassination planned by El Jeffe’s forces that was skillfully carried out to make it look like a tragic accident. Of course it was no coincidence to anyone, it was meant by Trujillo to intimidate potential followers of the ever rising rebellion. Their fight to the end showed how they were proud and willing to fight for the better life and brake the chains of living in oppression. They proved they would not tolerate living miserably under an unjust government and this was truly inspiring. This is a genuine and desirable trait that they held strongly, and it gained them due respect and honor.
The story explores many vital concepts accompanied by beautiful illustrations. I felt a strong sense of cultural understanding, spirituality and connection to family and land as though I was on this journey too. I could sense an underlying meaning in each dance, holding great importance to Bertie’s family and a strong connection to their culture. Pryor has attempted to fuse the then and now, by speaking of changes in the land, from a once spiritual gathering place, to a now busy town street where through food, they keep the culture alive (Pryor, 2010).
In the heart of Miami, Florida, the Calle Ocho Festival is an event open to people of all ethnic backgrounds and age groups. This event dates back to the late seventies. The festival originated in 1977. It was organized by two men, Leslie Pantín Jr. and Willy Bermello, who wanted to start a project with the Miami Herald to bring the community closer together. They decided on a festival while scribbling on the back of a place mat at lunch one day at the Red Coach Inn during the summer of 1977. Pantín and Bermello's goal was to have a street party that would display the Latin-American lifestyle in the city of Miami for non-Spanish speakers. Today, this festival has grown into the largest Hispanic festival held in the United States. Hundreds of thousands of people attend the event for the dancing, eating, and getting to know everyone and everything that is part of Little Havana.
Rohter, Larry. "After the Visit: Mission Lies Now With Cuban Church." The New York Times. 27 Jan. (1998): A3.
Eucalyptus Grove comes alive with the beat of the drums, sending chills of power trickling down your spine. All around you are people, over 30,000 weaving in and out of over 100 booths. Despite the tickle of your nose from the dust kicked up by the passionate dancers in the arena, you are greeted by the smell of foods representative of different tribes. The crowd is colorful in dress, face and purpose; the songs represent and evoke different emotions. You have just entered the Stanford American Indian Organization’s Annual Pow Wow.
I wish to submit an essay entitled “A Refugee’s Inescapable Trials and Tribulations” for consideration in the Outcasts United: An American Town, a Refugee Team, and One Woman’s Quest to Make a Difference Essay Contest.
Las Posadas is a Mexican holiday that is like Christmas for the United States. It was originated in Spain and lasts for nine days. This holiday begins on December sixteenth and ends on December twenty-fourth. This is also a catholic holiday but most people in Mexico celebrate it. This holiday was thought to be started in the sixteenth century by “St. Ignatius of Loyola or Friar Pedro de Gant in Mexico.” In Mexico they have a tradition where they put a candle in a paper lampshade. Then they would take the lampshade with the candle inside it and went outside to sing a song, allowing Joseph and Mary to be recognized and allowed to enter the world. This is still a tradition today but one thing has changed from around when it was started. It, for some people, celebrated it in a church instead of the family’s home. There is a thing that is common for both the United Stated and Mexico. They both sing Christmas carols, they go along to houses or in a church and sing Christmas songs. On these days the children will break piñatas to get the candy and prizes inside. They also so another thing ...
The documentary “Rize” by David LaChapelle, focuses on the lives of Black Americans who live in South Central Los Angeles and the struggles they go through in their daily lives. Moreover the film also introduces two types of dancing groups that they have in the community. These dance groups are meant to keep the youths and children occupied and distracted from all the problems that have been going on in their community, such as the LA riot. The two styles of dancing are Clowning and Krumping. Clowning was created by Tommy the Clown in 1992. Tommy used to be a formal drug dealer, he went from having his life together to losing all his money and house. However, instead of doing nothing productive with his life, he decided to help his community by changing the lives of others through entertainment. In addition, not only did this dancing group help him get to a better place in life but also the group members are like his family. His main goal was to help put similes on people’s faces and help get some of these children and youths away from gangs. On the other hand, Krumping was also generated from Clowning, however Krumpers believe that their form of entertainment is different from clowning. Moreover, these dancing groups main focus is to distract the youths and children in the community by giving them the opportunity to do something they love, which is dancing. Furthermore, passion, spiritual connections and connection to the African culture are conveyed through the film by Clowning and Krumping.
Hernandez, Tanya Katerí, “The Buena Vista Social Club: The Racial Politics of Nostalgia.” Latino/A Popular Culture. Ed. Michelle Habell-Pallán, Mary Romero. New York: New York University Press, 2002. 61-72. Print.
In this story, the reader can see exactly how, many Puerto Ricans feel when living on other grounds. Throughout this time, the boy that Rodriguez presents us realizes he has his culture and that he wants to preserve it as much as he can. “Because I’m Puerto Rican”. I ain’t no American. And I’m not a Yankee flag-waver”
A well-known program in New Orleans is The Covenant House. It is a well establish program that offer assistance to thousands of youth. Each day, scores of kids walk into Covenant Houses across the Americas for the first time. They get what they need immediately: a shower, a meal, clothes, a warm bed, and medical care if they require it – more than a third do. Then, Covenant House has expectations of the kids. Once they’re safe, clot...
The emotional letter that Juan left for his mother might be one of the most emotional scenes in the documentary. The pure emotions that the letter was written by Juan to her mother leaves the audience with the bonds and emotions felt between the kids and families. Juan Carlos’s father abandoned the family years ago and left to New York, consequently Juan believe it is his responsibility to provide for his family. He also wants to find his father in New York and confronts him about why he has forgotten about them. The story of Juan is not just about migration of children, but also the issue of family separation. The documentary does not dehumanize but rather bring the humane and sensitive lens to the story of Juan where the human drama that these young immigrants and their families live. Juan Carlos is not the first of Esmeralda’s sons to leave for the United states, his nine-year-old brother Francisco was smuggled into California one month earlier. Francisco now lives with Gloria, his grandmother, who paid a smuggler $3,500 to bring him to Los Angeles, California. Once Juan Carlos is in the shelter for child migrants his mother eagerly awaits him outside. After she sees him she signs a paper that says if Juan Carlos tries to travel again, he will be sent to a foster home.
Miami Dade, October 2005: Most streets are empty, the news stations' careful packages about hurricane survival seem to have persuaded even the stubbornest of Floridians. Workplaces closed, schools canceled, elated children fill homes with their usual buzz for just a few more days, to their parents’ weary “delight”. In one particular Miami home, two girls, one 8, one 6, have expressed their intentions of spending the day by the window, watching the beautiful wreckage unfold, their steadfast positions elicit a begrudging half-nod of approval from the mother. Before long, the lights go out, no distractions, no chores, the tiny family sits in harmony telling stories amid the few scattered decorative candles that they gather from all strange corners of the home,