(Approved September 13, 2012) AN ACT

Transcription

1 (H. B. 509) (No ) (Approved September 13, 2012) AN ACT To declare the second Saturday of November of each year as the Plena Day in Puerto Rico, in order to extol the folkloric and cultural value of the Plena musical genre as part of our tradition and culture. STATEMENT OF MOTIVES Plena is an important genre within traditional Puerto Rican music, and is usually associated with the coastal regions of the Island. Similar to Mexico s corrido, Plena features songs that narrate the sorrows and ironies of the people. An excellent modern example of this genre is the song El Bombón de Elena, recorded by Ismael Rivera and Rafael Cortijo. There are several theories regarding how and when Plena originated. The most popular theory is that Plena originated in the city of Ponce, in the southern coast of Puerto Rico, circa 1920, as the popular Plena song San Antón suggests. However, it is more likely that it was much earlier than that, since there are examples of Plena in Puerto Rico and in other places dating back to On the other hand, and according to studies conducted by the Institute of Puerto Rican Culture, Plena originated in La Joya del Castillo, in the Castillo Street Sector of Ponce, between 1915 and 1921, instead of in the San Antón Ward. From La Joya del Castillo, Plena extended to the Bélgica Ward, and from there to the San Antón Ward. This data is supported by inquiries made to scholars and musicians of this genre, such as Dr. Emmanuel Dufrasne, ethno-musicologist, university professor, musician, expert in the Bomba and Plena of the southern area of Puerto Rico, and Director of the Conjunto Paracumbé Workshop, among others.

2 2 Dr. Dufrasne and other experts of the genre make reference to the book Origen, sentido y esencia de la Plena, written by Félix Echevarría-Alvarado, as a trustworthy historical source that establishes La Joya del Castillo, a sector of Ponce, as Plena s place of origin. What is indeed clear is that this musical genre has its roots in African music and dances. Plena became popular in the early 20 th Century around sugarcane growing areas along the coastline of the Island. The varied musical expressions of the slave, commoner, and high society populations laid the foundation for the origin and development of Plena. In addition to having its musical and social roots in our Eastern-African heritage, Plena was also influenced by the music of the jíbaros, which is based on the traditions of the Spaniards and Moroccans, and by Europeanstyle ballroom music. Yet another influence was the music of the freed but displaced slaves who came to Puerto Rico from the English-speaking Caribbean islands in search of work. As many rural workers relocated to San Juan and other urban areas, Plena became part of cultural city life, played for entertainment and during informal gatherings. The music also evolved as musicians added instruments such as cuernos (horns) to their complex rhythms and the typical call-and-response, improvised soneos, which are also found in other genres such as Bomba and Salsa. Lyrics in Plena music deal with contemporary events and, therefore, they are said to be a newspaper set to song. The singers recite the events of the day, satirize local politicians, or sing about the latest scandals. Plenas are filled with biting satire, but also provide commentary on the major news of the day, such as a devastating hurricane. However, not all Plenas have historical significance or provide social commentary. Some of them are entertaining, personal, playful, or simply humorous with no connection to the news, politics, or protests. Yet, whether the lyrics convey

3 3 serious protest or lighthearted fun, Plena remains an essential way for the community to express itself. Plena vocalists include a soloist and a chorus singing in a call-and-response pattern. The chorus consists of not more than two singers, one of which may sing in harmony an octave higher, known as requintar. People may dance to Plena, but as opposed to Bomba, the lyrics and the melody have greater importance. The choreography is rather simple, with couples dancing together, although evidence shows that they originally danced separately. While Bomba is not usually performed without dancers, Plena does not require them. In Plena, percussionists do not establish a dialogue with the dancers as they do in Bomba, but they do perform solos. Some modern Plenas are played at a blistering pace inspired by the Reggae genre. Plena music is played at a 2/4 time, with instruments that typically include several frame drums, also called panderos. These panderos are the most distinctive instruments of Plena. A pandero is a handheld drum similar to the tambourine, but without jingles. A complete Plena ensemble requires three panderos. Two supporting drums are also typical in Plena. One is called a seguidor, which sets the beat; the second, which plays a leading role, is called a requinto, which reinforces and accentuates portions of the rhythmic structure of the song lyrics, and is also used in jams or descargas. Another important instrument is the güiro, whose primary role is to play a fixed rhythm, but which may also be used to play solos. Other instruments may include a cuatro or a guitar, a conga drum, and perhaps a single maraca. An accordion or harmonica may also be used, but these are not typical instruments. Some Plena ensembles include a trumpet, clarinet, or other wind instrument.

4 4 Many experts who are knowledgeable about the traditional music of Puerto Rico establish a connection between the Bomba and Plena genres based on historical and musical reasons. They claim that the roots of Plena lie in Bomba, mainly because they share many musical characteristics and both clearly originate from West African musical traditions. Both use two or three drums of different sizes and pitches to play interrelated rhythms. Both also use a soloist accompanied by a chorus, and both their lyrics are about the daily lives of common people. As a matter of fact, the names Bomba and Plena are compounded at times, resulting in the single term Bomba y Plena, which everyone in Puerto Rico is quite familiar with. However, in spite of the common characteristics between Bomba and Plena, they also have marked differences. They differ in the type of drums each use. They also differ in the manner and importance given to dance, as well as in verse structure and contents. As a type of folk music, it has had many great composers who were wellknown in their time and still today. Manuel A. Jiménez, also known as El Canario, was perhaps one of the best known Plena singers/songwriters. There certainly were many others, including great figures such as Ismael Rivera and Rafael Cortijo. In the late 20 th Century, Plena had ceased to be the mainstream popular music that people listened to. Salsa, Merengue, and other more modern genres climbed to the top of the commercial market, leaving Plena behind. Even imported genres such as Rock were favored by the youth, who were responsible for the boom of the music industry over the old folk music genres. In the 1960s and 1970s, Plena was modernized through the efforts of performers such as César Concepción and Mon Rivera, who introduced big band style instruments, like trombones and congas, as well as vocal arrangements similar to the soneo style.

5 5 However, despite the apparent revival of Plena through different groups such as Terraplén, Bombayá, Truco y Zaperoco, Plena Libre, and Plenéalo, among others, the Government of Puerto Rico must join in the effort to uphold our roots, heritage, and traditions. Plena has unquestionably become a part of our idiosyncrasy and, thus, it is necessary to promote and preserve it. BE IT ENACTED BY THE LEGISLATIVE ASSEMBLY OF PUERTO RICO: Section 1. The second Saturday of November of each year is hereby declared as the Plena Day in Puerto Rico, in order to uphold the folkloric and cultural value of the Plena musical genre as part of our tradition and culture. Section 2. The Department of State, in collaboration with the Institute of Puerto Rican Culture, shall be responsible for the organization and sponsorship of any activities associated with the declaration and celebration of Plena as a historical, artistic, and cultural expression of the People of Puerto Rico. Citizen and private entity participation in these activities shall be likewise promoted. Section 3. The Governor of Puerto Rico shall issue a proclamation to such effect. Section 4. This Act shall take effect immediately after its approval.

6 6 CERTIFICATION I hereby certify to the Secretary of State that the following Act No (H. B. 509) of the 7 th Regular Session of the 16 th Legislative Assembly of Puerto Rico: AN ACT to declare the second Saturday of November of each year as the Plena Day in Puerto Rico, in order to extol the folkloric and cultural value of the Plena musical genre as part of our tradition and culture. has been translated from Spanish to English and that the English version is correct. In San Juan, Puerto Rico, on this 19 st day of October, Orlando Pagán-Ramírez Acting Director