Adam Taub with Bachata legend Edilio Paredes and Bachata star Joan Soriano./Photo: https://www.bachataclass.com/.
By Nelson Santana
December 20, 2019
Earlier this month, UNESCO declared the Dominican music genre Bachata an “Intangible Cultural Heritage of Humanity." In celebration of this achievement, ESENDOM will publish a series of articles celebrating the accomplishments of this once marginalized music genre.
In this interview, ESENDOM converses with Adam Taub, a Bachata aficionado. Adam is a documentarian, researcher, and educator who fell in love with Bachata once introduced to the musical genre. When he is not dancing Bachata for pleasure, Adam is either working on his next documentary project or somewhere in the world educating people about the genre’s history and teaching students how to dance it. Without further ado, here is ESENDOM’s interview with Adam Taub.
N. Santana: As the years pass, Bachata is becoming more mainstream as it continues to break down barriers. In New York and Chicago, where your colleagues Edwin Ferreras and Carlos Cinta reside—there are more Dominicans or at least more people familiar with Dominicans and Dominican culture. In Colorado, where you live, the number of Dominicans is very, very small. When and how did you first encounter Dominican culture, including Bachata? Can you please walk us through?
“Sharing the stories and culture of those that created and nurtured Bachata over all these years is important because that’s the soul of the music and dance.”
That’s correct, in Colorado, where I’m from, there is a much smaller Dominican community compared to Chicago or NY, but because I’m involved in Bachata and Latin dance I’ve actually met quite a few Dominicans here in Colorado. Actually, before I traveled to the Dominican Republic I had very little contact with people who had Dominican heritage, although I did have contact with Dominican music. Bachata and Merengue were really my introduction to Dominican culture. I was first introduced to Merengue while traveling, in Costa Rica I believe, and actually got to try and dance it a little. Then later, while working with youth at an NGO named Sarah House, in Washington DC, the kids introduced me to Bachata. As part of the program we had soccer teams, and many of our players were from, or had parents from El Salvador and Mexico and they were the ones that introduced me to Bachata. As I remember, Bachata was really popular in many of the neighborhoods we worked in DC during that time, which was the late 90’s. One of the young men, Juan, made me a mix tape with Bachata on one side and Hip Hop on the other. The song that most impacted me was “Hoja en Blanco” by Monchy and Alexandra. I connected with the music and remember driving through the night listening to that tape. I felt the longing and desire in the music. Then after that, around 1999 or 2000, I started taking some Latin dance classes in Boulder, Colorado, and started to go out to a dance club that would often play a couple of Bachatas during the night. My friends, the Nelson family, Carmen, Gabriel, Chris, and Carl would give the nightly dance classes, and would often include a short Bachata lesson. My friends who taught were not Dominican but had some exposure to the Dominican Republic and Bachata because Carl works a lot in the DR. So this was my first intro to Dominican music and dance and it led me to choose to study abroad in the DR later while back in the University.
N. Santana: Something we understand here at ESENDOM is that context is key, hence its importance. Unlike other dance instructors who teach Bachata movements, you also provide historical context. First, please explain why is it that you provide this context? Second, what would you say to other instructors who fail to contextualize a dance or music—Bachata in this case and are you willing to provide any viable critique and/or other insight, including whether or not you have discussed this matter with peers, whether or not these discussions even take place at all, etc.?
I am often brought by Latin dance festivals, studios, and universities to give a multi- media lecture and presentation about Bachata music & dance, the historical context, the culture, roots, and styles etc. I love giving the presentation and sharing many of the stories that I have gathered over the years filming in the DR, related to Bachata and Dominican culture, through video, photos, and lecture. Sometimes I combine the multi- media presentation with a dance workshop, but even if I am giving just a dance workshop, I make sure and try to incorporate cultural and historical context in a variety of ways. Even just mentioning that it is from the Dominican Republic is helpful. Speaking a little about what it means to the country and the culture. Mentioning the musicians by name, and giving students resources so they can do more research on their own. All of this is important. More instructors should do this. A person can start small but then as they learn more, incorporate these elements in the dance class more and more. For me it was always part of it because I started by doing documentary film related to Bachata (“The Duke of Bachata”) and never thought I would teach dance. The dance teaching came later, so as I started doing that I tried to incorporate the sharing of stories and culture as well. Sharing the stories and culture of those that created and nurtured Bachata over all these years is important because that’s the soul of the music and dance. It shows respect to share this aspect. It also adds a lot more depth, richness, and quality to a student’s experience with Bachata if they have the context and story. To dance something, ideally you need to feel it on a variety of levels. We do discuss this issue among peers and it’s important. There are many teachers that do add context but there is still more work to be done in this regard.
“The song that most impacted me was “Hoja en Blanco” by Monchy and Alexandra. I connected with the music and remember driving through the night listening to that tape. I felt the longing and desire in the music. ”
Adam Taub teaching students how to dance bachata./Photo: https://www.bachataclass.com/.
N. Santana: You have lived in the Dominican Republic. Can you please share your experience? Where did you stay? Did living in the Dominican Republic influence or change your perspective of the world? Was the experience positive, negative, or both? How?
Yes, while attending CU Boulder, I did a CIEE study abroad program in the DR for a year. I first lived and studied for a semester in Santiago, at PUCMM, and living with a Dominican family near El Monumento, en La Zurza. Then the second semester I lived and studied in Santo Domingo, en Gazcue. It was a great experience and during this time I continued to be exposed to Dominican music, and dance it more, both Merengue and Bachata. I also studied Spanish, along with Dominican history and culture at school and had the chance to travel a lot of the country. Oh…and the food! I lived with two Grandmothers and their families and they fed me VERY WELL. Doña Negra y Doña Nuris. My lunch usually consisted of a whole avocado, rice, habichuela, pollo guisado, a salad, and vegetables. Then I would take a nap before heading back to school. It was a positive experience for sure and changed my life in many ways. I met many good friends while there, other foreign students like me, and Dominicans. I was also introduced to a number of complex social, historical, economic and racial paradigms while there. For instance, the marginalization of Bachata in the DR, Dominican immigration, Colonization, the rule of Trujillo, and Dominican/Haitian relations. These studies fascinated me and I think really influenced me wanting to do a Bachata documentary later. This time really set the stage and started me thinking of various themes I would incorporate in Documentary film, and Bachata music and dance research.
“I’ve actually met quite a few Dominicans here in Colorado.”
N. Santana: Has the Dominican community been accepting of you? Have you ever come across a situation where you felt unwelcome for embracing Dominican culture?
Oh yes, I would say the Dominican community has been very accepting of me, both during my times in the country and as I have presented my video work, dance classes, and lectures. Also, on my YouTube channel! A huge percentage of those who follow my work are Dominicans. The welcome and support I have received in the country has been tremendous and a real honor. Joan Soriano and his family, along with the many musicians and dancers that I have worked with have been beyond amazing. They have welcomed me, shared with me, guided me, and protected me. There have been some critiques and differences of opinion over the years with some Dominicans who view my work, but on the whole, critique has been fairly rare. Some questions and critiques are actually really worth listening to. Questions such as ‘should you, a non-native of the culture, a white man be researching, presenting, and representing the cultural aspect of the DR?” This is a very valid question. I try and listen to these critiques and learn. Also, much of the time I try and let the interviews and stories I gather from Dominicans speak as much for themselves as possible. I also try and support Dominicans as they start their dance, music and research careers etc. But I often present videos and interviews of other Dominicans expressing themselves through words, dance and music and while some Dominicans support these voices, some Dominicans critique them. The Dominican community, like any community has many diverse points of views and voices, and can be very opinionated in regards to music, dance, culture, race, and socio economic issues so this all must be factored in. Some Dominicans like the way I teach Bachata and dance it, and others have critiques of it. This is good and normal.
Bachata artist Joan Soriano./Photo: https://www.bachataclass.com/.
N. Santana: You have been involved in many excellent research projects. Can you please walk us through your research process?
Well I think curiosity of something, a topic, a person is the place to start. What are you intensely curious about? Then take a look at your resources, who you are, your unique voice and examine what you might be able to bring to that topic. I primarily use video to collect and then present my research. When I do a documentary or research project I am usually the only member of the “crew” and I go and spend time with the people, place, or situation I am exploring. Then there is that balance between just listening and being present and filming. A person has to find that balance and not just record all the time. So the gathering of stories and spending time is a big part of the research and then another huge part is going through what you have, editing it, finding a way and a place to present it. It’s a journey!
N. Santana: How did you conceive the idea for the documentary El Duque de la Bachata? Please explain the who, what, where, when, how, and why of the documentary.
I wanted to tell a personal story about a Bachatero, and thought I could also explore some interesting themes in Bachata music through the life and journey of one Bachata musician. I didn’t know who it would be and planned on doing a trip around the Dominican Republic to meet and talk to a variety of musicians before deciding on one. I found the iASO Records website and got in touch with Benjamin de Menil and he gave me the phone number of an artist he was working with, who happened to be Joan Soriano. So, I planned the scouting trip to the DR, and for my first meeting while there I had arranged to meet Joan Soriano in Villa Mella, in a supermarket there. We met and talked, and very quickly he took me to meet his wife Alexandra and large extended family in La Luisa. His whole family and his parents Juana and Candé are amazing! That was it, I knew I had found the person I wanted to work with on this and Joan agreed! We got along well, still do, and he welcomed me. So I agreed I could cover my food expenses and help with gas, and the film began and I actually began shooting footage that first trip. Then some months later I did another longer trip there to spend more time with Joan and film. During this trip Benjamin de Menil also came for part of it as he was recording an album with Joan, which became a big part of the journey. Then I began editing the film and thought my filming was over. Then suddenly Joan got an artist visa that we didn’t think he would get. He was going to be part of the Bachata Roja Legend tour by iASO with Bachata legends Ramon Cordero, Leonardo Paniagua, Edilio Paredes, El Chivo Sin Ley etc. So I quickly arranged to go on that tour with him, spent time with him in Washington heights and NYC. There he was away from his family, lonely, in a small Washington Heights apartment. Life is different in NYC as opposed to Villa Mella or a Dominican campo! It seemed more isolating for him. Then on tour in Chicago I filmed the show and this became the end of the film. It was great that this happened and wonderful to have these other Bachata legends as part of the film. I then finished editing the film while living in Boulder, which is easier said than done. It’s always a struggle! But with help from family and friends financially and in terms of the advice they gave I finished. My Mom contributed a lot! After editing the film you still have to get it seen and this began another chapter as I organized screenings, film fests, and discovered the budding Bachata festivals and started screening it at those. Some of the first festivals it was screened were San Francisco, DC, and Reno. I then started teaching dance in addition to showing the film. Joan and his whole family have always been so incredibly welcoming and have cared for and protected me. I feel it’s a true blessing that I found a Bachata musician like Joan, that is so talented, the real deal, and was still on the journey to make it work in music. We got along so well and are still good friends now, all these years later. Why did I do it? I loved Bachata music, wanted to go deeper into it. Maybe I was led to it? There is so much we can learn from spending time with others. I was also fascinated how Bachata was marginalized in its own country of origin, music of el pueblo, and wanted to explore this through story. You know Bachata has given me a lot! Friendships. I actually met my wonderful wife Lorena dancing Bachata also. That is the best thing Bachata has given me. Gracias a la Bachata.
Adam Taub with Joan Soriano./Photo: https://www.bachataclass.com/.
N. Santana: In addition to El Duque de la Bachata, you have also been involved in La Quinceañera (2007) and Juana y Candé: A Dominican Family Portrait (2016). Can you please discuss these two projects?
Yes, La Quinceañera was one of my first documentary films and follows a young woman, Ana Maria, as her and her family prepare for and celebrate her Quince Años. You can find it for free on my Adam Taub YouTube channel. The film Juana y Candé I finished after The Duke of Bachata. Juana is Joan’s mom and Candé is his father, who has since passed away. They are in the film El Duque, but I thought they needed a film of their own. They had so much wisdom and experience to share! I thought people could get a lot out from hearing their perspective. It was also kind of a selfish choice to do the film, I wanted to spend more time with them soaking them up, their stories, experiences. Candé was my biggest influence in Bachata dance. He was someone who enjoyed and lived music! He was a legend for it within his family and the community, La Luisa Prieta de Monte Plata. And Juana is such a grounding person, for her whole family. People would come to her kitchen to be with her, ask her advice, listening to her, talk to her. She still cooked over a wood fire. They raised 15 kids and more than 50 grand kids! I just can’t say enough. Find the film for free on YouTube and please leave a comment if their lives impact you.
Juana and Candé/Photo: https://www.bachataclass.com/.
N. Santana: Can you please explain how any interested parties (individuals, institutions, or any other entity) can contact you? Also, what services do you provide?
Adam Taub with bachata legend.Luis Segura./Photo: https://www.bachataclass.com/.
My email is adam_taub@hotmail.com. Much of my Bachata video work can be found on my Adam Taub YouTube channel and people can subscribe. Also, I have an Adam Taub Bachata Facebook page and my website is www.bachataclass.com. I give multi-media presentations and show my films to universities, institutions, and festivals related to Bachata music & dance and also teach Bachata dance classes focusing on elements from the Dominican Republic so people can contact me if they want to organize something. I love presenting at universities and visiting classes and can combine lecture with dance classes. Also, because I know many Dominicans read this, I am always looking for Dominicans social dancing on video to feature on my YouTube channel, both young and old. The person doesn’t need to be a teacher or professional. In fact, better if they are not! If you know anybody or have videos contact me through my email. This is actually very helpful, as I think it’s important to share more Dominicans dancing and living Bachata to keep that style alive. I also continue to do documentary film work and research so often look for interviews related to Bachata. I still need to interview Romeo some day!
N. Santana: In addition to being a documentarian, scholar, dance instructor, what other aspirations or interests do you have?
Oh, I’m interested in many things. I love being married and my family. I love to walk and hike in the outdoors, travel, read and many other things! Too many interests, that’s why I think I like documentary, I get to explore a variety of things.
N. Santana: If you were not involved in the work you do, what do you think you would be doing instead?
Well, in addition to Bachata and documentary, I also work at my family’s business that does Halloween manufacturing, and I do Social Media Campaign work and YouTube channel consulting work for companies.
N. Santana: Are you working on your next documentary or project? If so, can you give ESENDOM viewership a sneak peek? What project or projects lie ahead?
Yes, I’m working on a film about my family and the Halloween industry. Also, I am working on some short video projects related to Bachata. One has to do with Bachata dance timing which I will release on my YouTube channel.
N. Santana: What advice or message do you have for ESENDOM readers?
I would rather ask their advice. How can I get my documentary material and presentation seen by more in the Dominican community? That is what I would like to do. Also, what advice do they have for finding and recording Bachata dancers, especially those that grew up dancing in the 60’s, 70’s, 80’s, and 90’s? Do they have any contacts or leads?
N. Santana: Lastly, if you were to create a playlist of the best or most influential songs, what songs would be included in your playlist?
Hoja en Blanco | Monchy y Alexandra – This was the first Bachata I remember that really impacted me on that mix tape years ago. I have since interviewed Mártires de León who produced it and recorded el requinto (lead guitar) on it.
Adam Taub with Mártires de León, Joan Soriano, and El Zorro./Photo: https://www.bachataclass.com/.
¿Quién eres tu? | Frank Reyes – This was the big hit song when I was first studying abroad in the DR
Vocales de Amor | Joan Soriano – First time I heard Joan play this live while I was recording the documentary it sounded like a hit. I asked him whose song it was, Antony Santos? Haha! He said it was his and has since become his most famous song.
¿Que pasará mañana? | Joan Soriano – Another one from Joan. This is a song he covered and was recording for the album when we were filming the documentary.
El inmigrante | Felix Cumbe – Powerful song and lyrics by Cumbe who I have recorded his live shows and interviewed .
Voy pa alla | Antony Santos – Amazing song, to me the perfect Bachata mix. All instruments shine. I have not interviewed Antony Santos but did interview Rafael Montilla who was the sound engineer for the song.
Amor del Bueno | Ramon Cordero y Edilio Paredes – Classic beautiful song by two masters. Amazing soulful voice of Ramon, one of my favorite voices in Bachata and Edilio the legendary guitar that recorded so many great artists.
En La Misma Tumba | Aridia Ventura – Amazing Bachatera!
Hijo sin padre | El Chivo Sin Ley – I have worked quite a bit with Ramon Isidro Cabrera and what a powerful voice! There was a time he was playing 5 gigs a night in Santo Domingo.
Obsession | Aventura – I love listening to Aventura and Romeo and this was the first song I remember hearing by them.
Por Un Segundo | Aventura – This song reminds me of dancing with my wife! We met dancing Salsa and Bachata. The best thing Bachata has ever gotten me is my wife!
Cheri Amou | Toni Tomas – Toni is a friend of Joan’s. He is from Haiti but came to the DR fairly young. This is an amazing song in Creole produced by iASO Records.
Loco de Amor | Luis Vargas Luis Vargas was, along with his son Joan, Cande’s favorite Bachatero. He said he wanted to be buried with a CD from Luis Vargas and Joan. I can see him dancing to this now!
Llanto a la Luna | André Veloz - Bachatera who I have been in contact but look forward to interviewing some day. She has songs that really reflect both Bachata roots but also feel innovative and fresh.
Emmanuel Espinal and Amaury Rodríguez contributed to this interview.
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