I regret that it's taken me a very long time to update The Cortadito. I haven't even finished telling you about my Viernes Culturales evening and already the Calle Ocho Festival has come and passed. I have so much to tell you about that long and exciting day!
Ok, so why the hiatus? It has a lot to do with a conference I attended back in February: The Knight Foundation's 2012 Media Learning Seminar. This annual gathering, which took place at the Intercontinental Hotel in downtown Miami, is primarily for community foundations interested in funding journalism-related projects. This is the second year I've attended, and I'm not sure how I got on the invite list, but I'm not complaining!
Creative ideas percolated in my head as I listened to the speakers, who included Eli Pariser (founder of Moveon.org) and Ethan Zuckerman, director of the MIT Center for Civic Media and the founder of Global Voices (see a summary of Ethan's comments here).
Ethan opened his presentation using the metaphor of the tour guide to describe how journalists, including citizen journalists, can help the public navigate community news and information. “Our responsibility to people who care about our communities," he said, "is listening to the broader conversations and putting them together in a way that people can listen to them."
I was sitting next to Rahul Bhargava of MIT's Civic Media Lab, and across from Leo Burd of the Civic Media Lab, and both glanced at me with a smile when Ethan continued to reference the idea of a "guide." Both of them knew about LittleHavanaGuide, and Rahul had used it to suggest places for his wife and child to visit during his time at the conference!
The conference was focusing on journalism, and yet LittleHavanaGuide was not designed to offer regular articles as an online newspaper or magazine would; in fact it is a bit difficult to update content because of the overall structure of the site. Fueled with too much coffee and plenty of inspiration, I began scribbling ideas in my notebook.
I continued to ponder the journalism possibilities for LittleHavanaGuide while taking the MetroMover back to Calle Ocho and then walking up the street to one of my favorite spots, Tinta y Cafe. As I sipped on a cortadito, I thought through what I had learned at the conference. I wondered how LHG could incorporate some of the multimedia tools I'd been introduced to, like VoIP Drupal (Leo from MIT had invented it).
VoIP Drupal allows for audio commentary to show up on a map, and to be added by phone. People can make commentary about a specific place leaving a voicemail message, and their comments show up on a website (as an audio file). Here is an example of a local multimedia tour project made possible with VoIP Drupal. This project enables people to make comments about a place as it was in the past, as it is now, and as they hope it will be in the future.
How could I create a mapping project like this for Little Havana?
I wondered about ways to easily add new stories to LHG every month, and for those stories to be searchable and connected to other content on the site. Rahul had suggested that I turn much of my content into an e-guide or e-guides, which makes a lot of sense. If people are looking at my site from a portable device, they might want to access the information all at once with a simple download instead of having to wait for pages to load. They they could peruse the information at their convenience.
Even if I couldn't add VoIP Drupal right away, I could at least incorporate maps into my stories. Ethan Zuckerman himself referred me to a new project, currently in Beta (not open to the general public), that allows people to add "notes" to particular places on a GoogleMap. He suggested I sign up to be part of the Beta.
I've signed up, and am eagerly anticipating the moment when I can incorporate these maps into my stories. Imagine an article that would allow you to post notes related to places that have a connection to the story? Pretty cool stuff, I think.
Hmmm ... and what about creating content in Spanish, and in print? I had so much to think about. I needed some time just to reflect and let my head stop spinning.
As such, I've been something of a hermit for the past months, working on new designs, talking with my programmer, listening to the needs and concerns of locals and visitors. The good news? The site WILL be going through a redesign and it should be ready by the end of April!
In the meantime, I'll do my best to keep updating LHG, but please understand if it's a little under-updated as I work on preparing the content for the new site. I welcome your own comments about how I can improve LHG. It's not too late!
Tuesday, March 27, 2012
Saturday, March 3, 2012
How I Experience Viernes Culturales - Part 2
Ok, so time to continue my story from Part 1.
The Survey
It was a little past 8 pm. As I mentioned in the first part of my account, I missed the official unveiling of the mural and the final dance performance because I was still engaged in conversation with friends.
I'd also been busy responding to the questions of a young man who was asking festival-goers to fill out a survey.
"Of course I'll fill it out!" I said.
Then a lightbulb went off in my head and I asked, "Are you an ... intern with Viernes Culturales?"
"Well, actually I'm a student at FIU ..."
It was all I the information I needed.
"So YOU are from the fraternity that stole our rooster! I was really mad about your antic but I'm so grateful you're doing community service now. That's fantastic. What do you think about Viernes Culturales?"
"I love it!" he said, his face brightening. "I really like this festival. Everyone's so nice. I had no idea so many people come out for this." We continued our conversation, and I was impressed by the student's maturity and friendliness.
Over and over again I mentioned how glad I was that he and his fraternity brothers were following through with community service. (Their fraternity "borrowed" one of Little Havana's popular rooster sculptures last year, as part of a prank.)
Impromptu Drumming on the Sidewalk
After completing the survey, I noticed the sounds of drumming. I walked over to the sidewalk in front of Cubaocho, where two musicians used sticks to pound big drums (much wider than conga drums) strapped around their necks. "Are these Uruguayan drums," I wondered?
Actually, I should say I saw three musicians, because Regla Cumbá stood by and was playing the claves, although her true instrument is her phenomenal voice. As always, she carried herself with regal grace, wearing a solid black, flowing dress as well as a black headwrap that crowned her long bronze-colored braids.
A Stop at Azucar
I decided it was time to move on to the rumba that always takes place up the street, but first I wanted to stop in and say "Hi" to Suzy Batlle at her charming ice cream shop, Azucar, which I've written about in previous blog posts.
She was there, of course, and one of her customers was Robert Parente, a board member of Viernes Culturales and a professional photographer whose work can be found in Edible South Florida, a local magazine that covers the region's local food scene. Suzy recently joined the board of Viernes Culturales, too!
I wasn't hungry at the moment, but my usual Viernes Culturales custom is to treat myself to an ice cream cone at Azucar. My favorites include the lemon sorbet, mamey, mango and ... there are so many more! All made from scratch, from the best ingredients.
I continued walking up Calle Ocho when I saw one of my friends, Julio Cesar Rodriguez, walking in the same direction. Julio Cesar is a local "sonero" originally from Santiago de Cuba, on the Eastern end of Cuba. His hometown is also the birthplace of Cuban son, the musical style in which he specializes.
Together we walked up the street. When I approached the Cuban restaurant El Cristo, I saw the owner Jose Zelaya chatting with two tourists sitting at one of the tables outside. There were actually three patrons at the table, if you included the infant in the mother's arms.
"This is really great! It's our first time here," said the father at the table. "The food here is really good."
"I know," I said. "Welcome to Little Havana!" I said.
Ready ... to Rumba?
We continued on, past I Love Calle Ocho, an intimate, art-filled spot only open on Fridays and Saturdays. The woman-owned business hosts some terrific local groups (Cuban "feeling" music, boleros, jazz, etc.).
We'd made it to Top Cigars for the rumba. No one was playing dominos tonight, which was surprising, and the place was still relatively empty. But the three drummers sat on the cigar shop's tiny stage, playing batá drums.
As they carried forth their rhythms and in call and response sang songs honoring particular Orisha, they attracted a crowd that soon packed the shop and also swelled in size along the sidewalk, gazing through the shop's windows. One of the drummers, Yosvanny, also happens to be one of the best male dancers of Afro-Cuban dance in Miami, too.
Then they switched to rumba, abandoning the batá drums to play instead congas, los palitos (literally, "the sticks"), and sometimes the cajón, a wooden box that is also used in flamenco music. A talented local percussionist who plays at Cubaocho nearby stopped by and joined in on the claves (two sticks struck together to form the fundamental rhythm). Julio Cesar was invited to sing one a rumba, and he did. Rumba is participatory.
Regla herself had appeared in the crowd and was now joining me and others in dancing to the rumba. Rumba, you should know, is the foundation of salsa and many other popular dance styles. It's hard not to dance when you hear its addictive rhythms, rooted in both African and Spanish (flamenco) music.
Galleries
When the musicians took their break, I left the shop to continue to Futurama, where I knew I'd run into more friends. Futurama is a creative incubator in the neighborhood, and houses the offices of my friends and local developers Bill Fuller and Martin Pinilla (the building's owners), as well as a handful of mini art studios/galleries and the Viernes Culturales office!
The place was packed, and by looking through the building's windows I could see that several musicians had just finished their set. Bill Fuller stepped outside and we chatted for awhile, and I had a chance to meet and greet the other FIU fraternity brothers who were helping with the surveys.
I spotted Marco Incer, owner of Art District Cigars, standing outside as well. "Hey Corinna, stop by sometime! You know you're always welcome." Marco's a really nice guy. I promised to do so. Often I step into the other galleries across the street from Futurama but tonight I decided to head straight over to Art District Cigars, even though my recent chest cold made me wary of cigar smoke.
It wasn't smoky at all, however. Art District Cigars is a hybrid space: a cigar shop (with a walk-in humidor), a full bar, live music on certain nights and for special events, and lots of comfortable seats for conversation or smoking that favorite maduro or corona. I saw Danny again, greeted Marco and his wife, and then caught the wiff of a freshly lit cigar. Sorry, Marco -- time to leave!
I moved on to to the Spanish restaurant Casa Panza Cafe, where huge platters of paella had been set up on a table outside, tempting people to step inside. Some patrons sat at small outdoor tables, others sat in a large front room where flameno performances often take place, and still others sat in a small tavern-like space of the restaurant.
In the smaller, tavern-like area (to the right of the entrance), bone-in serrano ham sat in its holder on the bar counter, near a freshly prepared pitcher of sangria.
My friend Julio Cesar was talking to Regla Cumbá at the bar; they had both just finished their plates of paella. Regla Cumbá regularly performs at Casa Panza. Julio Cesar had to leave to prepare for his own performance at Cubaocho, so Regla and I stayed and talked for a little while.
I wanted to catch the Cubaocho performance so I departed from Casa Panza and headed back down Calle Ocho. A number of people were standing in front of Alfaro's, a nightclub with plenty of tables and a small stage.
As always, a large crowd had gathered on the corner of 16th Avenue and Calle Ocho, next to El Pub, to see a salsa singer (performing karaoke style) and daring dancers. It made me wonder: why did so few people simply want to watch, and not participate?
The crowd had also completely hidden the roosters from view: two of the large rooster sculptures that stand sentry at the corner, one of which had been the victim of the fraternity antic last year.
Time for a cafecito! I stood at the cafeteria window of El Pub to order a cafecito, and there was the Santera I've seen at dozens of other Viernes Culturales celebrations. She is always dressed in plenty of yellow, wears her sacred beaded necklaces, and has no qualms about dancing in front of others. I love her boldness! She was ordering me a colada and offered me a tiny cup from it: a cafecito. Typical neighborliness here in Little Havana.
It turns out she was planning to go to Cubaocho, too, so we began walking down the sidewalk together.
To be continued!!! See part 3 of this Viernes Culturales adventure. Hopefully I will get some video up on this and all my Viernes Culturales blog posts soon, so stay posted.
 |
| l-r: Ruben Abella, Julio Cesar Rodriguez and the FIU student |
It was a little past 8 pm. As I mentioned in the first part of my account, I missed the official unveiling of the mural and the final dance performance because I was still engaged in conversation with friends.
I'd also been busy responding to the questions of a young man who was asking festival-goers to fill out a survey.
"Of course I'll fill it out!" I said.
Then a lightbulb went off in my head and I asked, "Are you an ... intern with Viernes Culturales?"
"Well, actually I'm a student at FIU ..."
It was all I the information I needed.
"So YOU are from the fraternity that stole our rooster! I was really mad about your antic but I'm so grateful you're doing community service now. That's fantastic. What do you think about Viernes Culturales?"
"I love it!" he said, his face brightening. "I really like this festival. Everyone's so nice. I had no idea so many people come out for this." We continued our conversation, and I was impressed by the student's maturity and friendliness.
Over and over again I mentioned how glad I was that he and his fraternity brothers were following through with community service. (Their fraternity "borrowed" one of Little Havana's popular rooster sculptures last year, as part of a prank.)
After completing the survey, I noticed the sounds of drumming. I walked over to the sidewalk in front of Cubaocho, where two musicians used sticks to pound big drums (much wider than conga drums) strapped around their necks. "Are these Uruguayan drums," I wondered?
Actually, I should say I saw three musicians, because Regla Cumbá stood by and was playing the claves, although her true instrument is her phenomenal voice. As always, she carried herself with regal grace, wearing a solid black, flowing dress as well as a black headwrap that crowned her long bronze-colored braids.
A Stop at Azucar
 |
| Robert Parente & Suzy Batlle |
She was there, of course, and one of her customers was Robert Parente, a board member of Viernes Culturales and a professional photographer whose work can be found in Edible South Florida, a local magazine that covers the region's local food scene. Suzy recently joined the board of Viernes Culturales, too!
I wasn't hungry at the moment, but my usual Viernes Culturales custom is to treat myself to an ice cream cone at Azucar. My favorites include the lemon sorbet, mamey, mango and ... there are so many more! All made from scratch, from the best ingredients.
 |
| The outdoor patio at El Cristo |
Together we walked up the street. When I approached the Cuban restaurant El Cristo, I saw the owner Jose Zelaya chatting with two tourists sitting at one of the tables outside. There were actually three patrons at the table, if you included the infant in the mother's arms.
"This is really great! It's our first time here," said the father at the table. "The food here is really good."
"I know," I said. "Welcome to Little Havana!" I said.
Ready ... to Rumba?
 |
| Drummers playing batá drums in Top Cigars |
We'd made it to Top Cigars for the rumba. No one was playing dominos tonight, which was surprising, and the place was still relatively empty. But the three drummers sat on the cigar shop's tiny stage, playing batá drums.
As they carried forth their rhythms and in call and response sang songs honoring particular Orisha, they attracted a crowd that soon packed the shop and also swelled in size along the sidewalk, gazing through the shop's windows. One of the drummers, Yosvanny, also happens to be one of the best male dancers of Afro-Cuban dance in Miami, too.
Then they switched to rumba, abandoning the batá drums to play instead congas, los palitos (literally, "the sticks"), and sometimes the cajón, a wooden box that is also used in flamenco music. A talented local percussionist who plays at Cubaocho nearby stopped by and joined in on the claves (two sticks struck together to form the fundamental rhythm). Julio Cesar was invited to sing one a rumba, and he did. Rumba is participatory.
Regla herself had appeared in the crowd and was now joining me and others in dancing to the rumba. Rumba, you should know, is the foundation of salsa and many other popular dance styles. It's hard not to dance when you hear its addictive rhythms, rooted in both African and Spanish (flamenco) music.
Galleries
 |
| Inside Futurama |
The place was packed, and by looking through the building's windows I could see that several musicians had just finished their set. Bill Fuller stepped outside and we chatted for awhile, and I had a chance to meet and greet the other FIU fraternity brothers who were helping with the surveys.
It wasn't smoky at all, however. Art District Cigars is a hybrid space: a cigar shop (with a walk-in humidor), a full bar, live music on certain nights and for special events, and lots of comfortable seats for conversation or smoking that favorite maduro or corona. I saw Danny again, greeted Marco and his wife, and then caught the wiff of a freshly lit cigar. Sorry, Marco -- time to leave!
 |
| Regla Cumbá |
In the smaller, tavern-like area (to the right of the entrance), bone-in serrano ham sat in its holder on the bar counter, near a freshly prepared pitcher of sangria.
My friend Julio Cesar was talking to Regla Cumbá at the bar; they had both just finished their plates of paella. Regla Cumbá regularly performs at Casa Panza. Julio Cesar had to leave to prepare for his own performance at Cubaocho, so Regla and I stayed and talked for a little while.
I wanted to catch the Cubaocho performance so I departed from Casa Panza and headed back down Calle Ocho. A number of people were standing in front of Alfaro's, a nightclub with plenty of tables and a small stage.
As always, a large crowd had gathered on the corner of 16th Avenue and Calle Ocho, next to El Pub, to see a salsa singer (performing karaoke style) and daring dancers. It made me wonder: why did so few people simply want to watch, and not participate?
 |
| Looking up Calle Ocho at the crowded sidewalk in front of Alfaro's |
Time for a cafecito! I stood at the cafeteria window of El Pub to order a cafecito, and there was the Santera I've seen at dozens of other Viernes Culturales celebrations. She is always dressed in plenty of yellow, wears her sacred beaded necklaces, and has no qualms about dancing in front of others. I love her boldness! She was ordering me a colada and offered me a tiny cup from it: a cafecito. Typical neighborliness here in Little Havana.
It turns out she was planning to go to Cubaocho, too, so we began walking down the sidewalk together.
To be continued!!! See part 3 of this Viernes Culturales adventure. Hopefully I will get some video up on this and all my Viernes Culturales blog posts soon, so stay posted.
Subscribe to:
Posts (Atom)