Learn Spanish Through Music · 3 Spanish you will have acquired once you have mastered a...

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Learn Spanish Through Music: Eta Que Ta’ Aquí In this episode the Extra Chunky Spanish team walks learners through the song, Eta Que Ta’ aquí by Andre Veloz. This humorous Dominican merengue is an ideal song for learners. The song contains only 62 unique words, provides plenty of repetition and is fun to listen to. Listen as our show hosts guide learners through the vocabulary of the song, point out of some of the cultural references and pick up some Dominican style Spanish along the way. The song provides students with a rich context for the learning and teaching of Spanish language, culture and social issues. The free study guide which is available for download below addresses the use of "non standard" Spanish which is celebrated here through the songs inventive use of colloquial Dominican expressions. The artist, Andre Veloz is one of the very few women represented in bachata. Through her music and media, she constantly challenges the male dominated conventions of the genre and the music industry at large. Although she has an affinity for the traditional, roots version of bachata, she brings a fresh and unique body positive feminist perspective to her music. These topics are addressed in several texts included in the study guide. Music is an ideal way to pick up a language. Research into language acquisition informs us that people acquire language in only one way: by hearing messages that they understand. This key element for language acquisition is called “comprehensible input”. Our podcast will help to make our selected songs comprehensible for students. Not all songs are ideal for language learning. The songs we will include in the Extra Chunky podcast will be carefully selected for features which maximize repetition of core vocabulary and structures while at the same time providing a compelling story or cultural context. We recommend that you print out the lyrics, make notes where necessary and listen repeatedly. Download the song and make it the first song in your Comprehensible Spanish playlist. Listen in your car, at the gym, around the house. . . If you work with the song a little each day, soon you will no longer need the notes. You will be soon be listening to and understanding a song in Spanish. If you continue this process with new songs, you will very quickly begin to build your vocabulary and develop a sense of the syntax and structure of the language. Imagine how much

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Spanish you will have acquired once you have mastered a Comprehensible playlist of 5-10 songs!

This episode’s Extra Chunky Podcast team: Kevin LaMastra – podcast host, music aficionado, and Spanish learner Elba Ceballo- Spanish teacher from La Vega, Dominican Republic Las Hermanas Peñaranda – Spanish Teachers Eliana and Sobeida, from Colombia

In this packet you will find the following resources to compliment your enjoyment and learning with this episode’s featured song: Notes on Dominican Spanish 4 CI Language Lab: Text Statistics for Eta que ta’aquí 6 Full Lyrics: Eta que ta’aquí 7 Compact Lyrics (for Teachers – All ages alcohol free version) with and without translation notes

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Text: Meet Andre Veloz, the Feminist Bachatera taking over the Dominican Internet

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Interview: Breaking Barriers for Women in Bachata 16 Text: La presencia de la mujer en la bachata es invisible 19 Related Video Links (Some great extension activities and #AUTHRES 26

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Notes on Dominican Spanish

Dominicans are known for the style and flavor found in their unique brand of Caribbean Spanish. It has its own distinctive accent, vocabulary and colloquial expressions. Dominican Spanish has been shaped by the island’s history; within its vocabulary and syntax, we can hear the influences of the island’s indigenous Taíno people, merged with the languages of the enslaved Africans later

brought to the island. Here are some words adopted from the indigenous Taíno people. These Arawack words are now heard in everyday Dominican Spanish: Barbacoa (barbeque) Maní (peanut) Canoa (canoe) Papaya Guayaba (guava) Yuca (cassava) Hamaca (hammock) Maraca Tabaco (tabacco) Batata (sweet potato)

Dominicans are well known for shortening words, leading to a very fast speaking style. Often, Dominicans do not pronounce the “s” at or near the end of a word. It is not unusual to hear me guta (instead of me gusta), un, do, tre, (instead of uno, dos, tres). Additionally, Dominicans use many Anglicized words. This characteristic can be attributed to the two U.S. occupations of the island, and daily cultural exchanges resulting from a steady stream and interplay of migration to the United States and U.S. tourism on the island. A very typical and well-known example of Dominican Spanish can be heard in the everyday greeting that transforms the more typical “Como estás tú?” to “Como tú tá?” The common Spanish phrase “Está todo bien” (everything is fine) is shortened to “Ta to.” A few example

Note to teachers: This song provides a great opportunity to help students to understand that although certain varieties of Spanish are considered “standard” Spanish, they should not consider one way of speaking correct and the other not correct. Language is a reflection of the community that speaks it. What is considered “correct” is often a matter of convention and decided in the interplay of language, power, and politics. While students may need to learn standardized versions of the languages that they study for practical purposes, it is important that both teachers and students learn about and respect the many varieties of Spanish spoken in our own U.S. communities and throughout Latin American and the Caribbean.

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“Standard” Spanish Dominican Spanish English

Esta todo (bien) Tató Good, fine Estamos listos ‘Tamo Ready We’re ready ‘Tamo Heavy We’re cool Estoy enamorado ‘Toy Enamorao I’m in love ¿Qué passa? ¿Que lo que? (KLK?) What’s happening? Dime aver!

Dame Luz! Tell me what’s going on. Literally: Tell me so I can see. Give me light.

Additionally, Dominicans use many Anglicized words. This characteristic can be attributed to the two U.S. occupations of the island, and daily cultural exchanges resulting from a steady stream and interplay of migration to the United States and U.S. tourism on the island. Dominican Spanish From the English. . . Yipeta Jeep Conflé Cornflakes Vivaporú Menthol Ointment (Vick’s Vaporub) Kachú Ketchup

The song “Eta que tá aquí” gives listeners a very rich example of Dominican Spanish, highlighting the shortening of key words in its chorus and including several well-chosen words and expressions that are uniquely Dominican. Eta que ‘tá aquí

This one that’s here Esta que está aqui

Va pa’ parte Is not going anywhere Parte= nowhere

No quiere coro Doesn’t want to hang out Coro= to hang out with friends

No tiene un chele. Doesn’t have a cent

Eta que ‘tá aquí ya hizo un tubi, ahy!

This one that’s here already put her hair in a tubi. (A tubi s a dry hair wrap used to protect your hair and help prolong your style.)

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CI Language Lab Text Comprehensibility Analysis Eta que tá’ aquí / Andre Veloz

CI Language Lab Text Comprehensibility Analysis Total Word Count 276

Length of Song / Words per minute 3:12 88.5

Unique words 62 62/276 Essential Words 53 85% Cognates 4 6% Identified Deep Culture /Colloquial Expressions 5 8%

Most repeated words

Word Repetitions Word Repetitions Que 39 A 09 Aquí 38 Va 08 tá (está) 37 Se 05 eta (esta) 37 Un 04 No 15 Si 04

Verbs

estar ir querer Salir poner hacer saber andar Beber mover traer hacer

Elementals (Among the first 200 words)

el cuerpo la cama la casa los pies un peso

Dominican Expressions

Eta que ‘tá aquí Va pa’ parte No quiere coro Se hizo un tubi No tiene un chele

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Eta que ‘ta aquí By: Andre Veloz

Andre vámonos No, yo no voy Vámonos, que él no va

Andre, let’s go! No, I’m not going Let’s go, he’s not coming

E'ta que 'tá aquí, e'ta que 'tá aquí E'ta que 'tá aquí, e'ta que 'tá aquí E'ta que 'tá aquí, e'ta que 'tá aquí E'ta que 'tá aquí, e'ta que 'tá aquí

This one that’s here. . . .

E'ta que 'tá aquí no va pa' parte E'ta que 'tá aquí se va a dormir E'ta que 'tá aquí no quiere coro E'ta que 'tá aquí no va a salir

This one here isn’t going anywhere This one here is going to sleep This one here doesn’t want to hang out This one here isn’t going to go out

E'ta que 'tá aquí ya se hizo un tubi, ¡ay! E'ta que 'tá aquí ya pusó un té E'ta que 'tá aquí anda en una bata Y de casa no se va a mover

This one here already has her hair in a tubi. . .ahy! This one here already put on some tea This one here is going around in a bathrobe And from the house isn’t going to move



E'ta que 'tá aquí no tiene un chele Y a esta hora le duelen los pies Esta sabe que de aquella cama, ¡ay! Éste cuerpo no se va a mover

This one here doesn’t have a penny And at this time her feet are hurting She only wants to know about this bed, ahy! This body isn’t going to move.

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E'ta que 'tá aquí hoy no quiero coro, no E'ta que 'tá aquí hoy no va a salir E'ta que 'tá aquí no tiene un peso E'ta que 'tá aquí se va a dormir

This one here doesn’t want to hang out ,no This one here today isn’t going to leave This one here doesn’t have a penny This one here is going to sleep



Si quieres bailar, si quieres beber Mejor traeme romo a domicilio En la calle no me ves (Repeats 3 more times)

If you want to dance, if you want to drink, better to bring the drinks to my place. . .In the street you won’t see me. .

E'ta que 'tá aquí no va pa' parte E'ta que 'tá aquí se va a mimir E'ta que 'tá aquí hoy no quiere coro, no E'ta que 'tá aquí no 'tá pa' ti

This one here isn’t going anywhere This one here is going nite-nite This one here doesn’t want to hang out. This one here is not here for you!

E'ta que 'tá aquí, e'ta que 'tá aquí E'ta que 'tá aquí, e'ta que 'tá aquí E'ta que 'tá aquí, e'ta que 'tá aquí E'ta que 'tá aquí, e'ta que 'tá aquí E'ta que 'tá aquí, e'ta que 'tá aquí no 'tá pa' ti

This one that’s here. . . . This one here is not here for you!

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Compact version Andre vámonos No, yo no voy Vámonos, que él no va

Andre, let’s go! No, I’m not going Let’s go, he’s not coming




This one here isn’t going anywhere This one here is going to sleep This one here doesn’t want to hang out This one here isn’t going to go out


This one here already has her hair in a tubi. . .ahy! This one here already put on some tea This one here is going around in a bathrobe And from the house isn’t going to move




This one here doesn’t have a penny And at this time her feet are hurting She only wants to know about this bed, ahy! This body isn’t going to move.

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This one here doesn’t want to hang out, no This one here today isn’t going to leave This one here doesn’t have a penny This one here is going to sleep




This one here isn’t going anywhere This one here is going nite-nite This one here doesn’t want to hang out. This one here is not here for you!


This one that’s here. . . . This one here is not here for you!

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Compact Version Andre vámonos No, yo no voy Vámonos, que él no va






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Meet Andre Veloz, the Feminist Bachatera Taking Over the Dominican Internet

Née: Andreina Hiraldo Raíces: St. Croix-born and Dominican Republic-raised Sounds like: Bachata roots, pero with new flow and a woman’s touch. You should listen to Andre Veloz because: Her femme, carefree spirit inspires fans to be whoever they want to be.

POR: AMANDA ALCANTARA

Hailing from el Caribe and based in the Bronx, Andre Veloz can make the dread of cold city nights feel just a bit more bearable — and fun. She’s one of very few women in bachata, and sings with the talent and conviction that make her stand out in a genre that continues to be confined by convention. It is this talent, coupled with her untamable wit, that birthed her single “Eta Que Ta’ Aquí,” which has taken over the Dominican internet.

“What motivates me is the conviction that I have,” she told Remezcla in an interview. “This is what I like doing, and I’m not gonna do una otra vaina that I don’t like.”

“Eta Que Ta’ Aquí,” which was written by Lenino and Andre Veloz, produced by John Chapman & Andre Veloz, with instruments and additional production by Dery Gracito, has turned into an anthem for Dominicans in New York staying in during the winter, and for older and newer fans in the DR who are showing their

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support by sharing funny clips of people dancing to it on Instagram. Versions of the song have even reached the ultimate form of virality: WhatsApp groups.

Uncompromising about her art and her work, she has been slowly building her career as an independent artist by boosting her presence on social media with old school bachata covers. They’ve gotten coverage on the popular Dominican site Remolacha, and she’s also performed at events across different college campuses, with frequent appearances at Uptown venues. With a solid social media fanbase, and a loyal Uptown following, Andre considers herself a unicorn. “I am a bachata unicorn, el unicornio de la bachata,” she says, “And I always say that; people think we don’t exist, but we do…I’m #@%! magical. And I work like a burro. I look like a horse, but I work like a burro, a unicorn.” Veloz has gotten younger audiences excited about bacharengue or merenchata, which was popular in the 90s. In the age of Spanish-language trap, dembow, and even fusions where bachata is combined with newer rhythms, it is rare to see a traditional sound like bacharengue go viral. The genre contributed to the growth of artists like Antony Santos, whose raw and emotional lyrics tackle everything from heartaches to stomachaches. But the genre seldom reflected a woman’s personal experience. “Eta Que Ta’ Aquí” does, while still maintaining its universality. It is about the decision to stay home and do nothing — about staying in, drinking tea – something that so many can relate to, from the older audiences who hold onto 80s and 90s nostalgia, to younger generations.

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From television anchors in the Dominican Republic, to New York’s 97.9 El Vacilón team, the song has been posted by pretty much every Dominican social media personality you can imagine. She even got Taye Diggs to sing along with her at an event. “It’s silly; it’s goofy,” she says. “I do have other serious songs but the world has enough of that sh##.”

Even within the genre of bachata, Veloz’s performances vary, ranging from bacharengue tracks like “Eta Que Ta Aquí,” to bachata jazz fusions and covers of English classics like “Hotel California.” One day she’ll perform with her hair in an extravagant ‘do, sporting a tutu and popping pink lipstick, and the next she’ll be makeup-free, wearing nothing but a graphic T-shirt and jeans. Her authenticity lies precisely in the reality that she cannot be boxed in. Regardless of what style she’s performing, or how she’s dressed, her voice and talent are ultimately what take center stage. Dominican women are often pressured to change their appearances and enhance their bodies to make it in the music industry, but Veloz refuses to make any changes that aren’t dictated by her. “I hope there’s a #MeToo movement for Latin music, or at least like an inclusion movement, because bachata is a boy’s club.” She says, “They say ‘you’re using the woman’s card,’ but it’s not a card to play; women have to work three times harder [in this field] to be taken seriously.” But Andre is relentless – whether it’s about making it in a man’s world, or telling someone that “eta que ta aquí” is not into you. In a society riddled with economic inequality, where boasting about club nights, spending money, and extravagant activities can feel like the only source of empowerment, “Eta Que Ta’ Aquí” is a humble yet potent celebration of the banal things in life. Andre Veloz is indeed a unicorn.

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Meet Andre Veloz, the Dominicana Breaking Barriers for Women in Bachata LATINA.COM RAQUEL REICHARD Bachata is considered a man’s territory, certainly no place for a “respectable” mujer – at least that’s what Andre Veloz, a bachatera breaking barriers for women in the genre, heard all her life.

While Prince Royce blasts from cars and gringos in Beverly Hills learn basic bachata steps, the music was long demonized in its country of origin, the Dominican Republic, where it was regarded as the melodics of the lower classes, the people with so-called loose morals.

That’s why Veloz, a 33-year-old St. Croix-born, New York-livin’ dominicana, making the dream her elders told her was unacceptable and producers still allege is unfit for women, is so inspiring, especially considering her songs unapologetically uplift women.

Ahead, the Inspiring Latina shares what it’s like being a woman in a male-dominated genre, her most sexist experiences, how music can change culture and what inspires her to keep grinding in spite of the hardships.

You fell in love with bachata at a young age, realizing early the stigma that comes with enjoying the genre. Can you talk about that? I used to live in rural Puerto Plata, Dominican Republic, and that’s where I first heard bachata. The lady that used to take care of us would tell me, “No, no. Don’t sing that. That’s not good.” As a female, and even as a male, if you had a certain level of education, bachata was not well-seen. That was forbidden, especially for a girl liking or singing it. That was “music of the brothels.” In the Dominican Republic today, you still see it a little. If you are from a “good family,” you’re still encouraged not to like it. It is still seen as not classy if it’s not Prince Royce or Romeo. My uncle, who’s like my father, doesn’t like that I sing it. But he’s going to have to get used to it at this point. When you decided you wanted to do music more seriously, you started with rock and jazz. Why transition to bachata as an adult? When you migrate and get homesick, you start appreciating more of what is yours. Your perception, fortunately, changes. When I moved to New York from the Dominican Republic, where I grew up, in 2004, I wanted to sing jazz, but I realized I had to go back

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to my source. It was reclaiming my identity. Also, it was acknowledging that I knew a lot about this music, coming to terms with that and understanding it as rich music, not second-class like people painted it. It was also a pleasure to find out that I can do this, and that I can bring other genres into it, that I can contribute something. Bachata started with women, so the lack of us in the genre now needs to be addressed. On that, you are intent on being a solo woman singer in this genre, noting that the few bachateras who are mainstream had to be paired with a man for success. Why do you think that is, and why is it so important for you to be a boss on your own? I don’t find a logical reason, but it’s turned into a trend: Monchy y Alexandra, Carlos y Alejandra and Monchy y Natalia. When I get offers from composers to record music and they tell me, “you’re going to do a duo with a man,” that for me is a turn-off, because there’s no reason for it. You can do one or two songs. I’m not against it. But for it to be a thing, that I can’t have a band on my own, as a woman, and I can’t be a band leader without sharing that leadership with a man, I’m against that. I would be more comfortable sharing the stage with another woman, as long as we are treated as talented artists and not meat. It really creeps me out, and I abhor the idea that you have to have a man next to you to succeed. It’s also a lack of creativity. Everyone wants to replicate the Monchy y Alexandra formula because it was successful. But that doesn’t serve us or help us grow. How is your zeal for being a solo artist, a boss in control of her craft, often read? I get called a bitch. But, honestly, that for me is motivating. I love it. When it comes to musicians, which is so male-dominated, they’re not used to it. It’s not that I’m mean but rather that they’re not used to taking direction from a woman. They tell me I’m cocky or a bitch. Really, I am just interested in succeeding, in getting my music known, and I need to make sure of that. This is important. It’s serious. It’s my job. A musician isn’t going to call his day job boss at Chase a “bitch” because she scolded him for coming into work late, and they shouldn’t approach me like that, either. What is it like being a woman in a male-dominated industry and genre? I’ve been performing since I was 14, and I was always a tomboy, so I didn’t realize until later that how I was being treated wasn’t normal. But now people have made it evident to me. Being a woman, we have an unfair amount of requests from society, especially from a singer’s perceptive. Our hair has to be straight, and I like mine big, curly and beautiful. Latinas in particular are also expected to dance, seduce and show skin, but will they ask Romeo that? Will they tell him to bleach his hair? No. I will say that I am excited for the next generation who is really embracing their Afro-Latina roots and all that comes with. It’s a beautiful movement, one I hope brings a switch in the mentality.

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What is the most sexist experience you've had in this field so far? I went to the Dominican Republic a while ago to talk to a producer and try to convince him to invest in my music. He told me he didn’t hire women because women fall in love, have kids and then get crazy. I was just like whoa!!! I immediately wanted to prove him wrong, and I still do. It stayed with me. It’s a heavy statement. Wow! That’s horrendous. I’m sorry you had to deal with that. Your music is pretty political, filled with girl-power lines that critique machismo and uplift women. Why is this important for you? We have to start changing the mentality. As a singer, performer, artist and woman, I have to think, what is my purpose? What am I contributing to this world? And I think it’s to prove that women are powerful and that we deserve respect and also role models, not that I am one, but I expect at least to show something positive to the women who consume my music. What role do you think music plays in changing culture? It’s essential. It’s as strong as a political movement. It is a political movement. Music can mobilize anything, I think. But it has to be a community effort, one with musicians, record labels and consumers involved. Being an artist comes with unimaginable difficulties, and then being a mujer in a male-dominated genre brings new layers of hardship. Where do you find your inspiration? Knowing this is my purpose. I think of times I had to do jobs I didn’t want to do. This is my way to make a positive impact on the world. There’s no other way. This is my gift, and this is my way of leaving my mark when I’m gone. What message do you want to leave to young Latinas whose dreams seem impossible? Stay focused and go for what you want. As long as you do it and are convinced that you are leaving the world better than how you found it, then that should be your motivation and your goal. I’m not close to where I want to be, but when I’m getting discouraged, I always tell myself I owe this to myself and to the women who have raised me, influenced me and who I influence.

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Andre Veloz: “La presencia de la mujer en la bachata es invisible” EL NACIONAL (Publicado 10 enero, 2019) POR: José Antonio Aybar La cantante dominicana Andre Veloz no descarta hacer fusiones con la bachata, pero por el momento prefiere continuar con el estilo que la define frente a un público cada vez más exigente con las mujeres que apuestan al género. La artista que asaltó las redes sociales cuando su canción “Eta que ta aquí” se hizo viral, es fans de la “bachata roja”, como define las propuestas de Marino Pérez, Luis Segura, Aridia Ventura, Mélida Rodríguez, y de otros exponentes de esa generación. “A mí me parece que había un sentido de comunidad entre ellos, ahora hay mucho estrellato”, asegura la artista que se embriagó de las bachatas que escuchaba en su hogar y la que colocaban sus vecinos de Imbert y Luperón, en Puerto Plata. “No es que yo buscara esa bachata a propósito, era lo que se escuchaba, lo que tocaban los vecinos en Imbert y Luperón (Puerto Plata). Crecí viendo a los bachateros que actuaban en El Show del Mediodía y La Súper Tarde de Color Visión”, destaca la joven intérprete.

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Recuerda que, contrario a este tiempo, a final de los 80 y principio de los 90 había mucha presencia femenina en la música y sus apariciones en la televisión eran constantes. “Yo era fans de Francis Rosario, de Miriam Cruz, de las mujeres de Tambó y de la Vieja Fefa, que siempre ha sido un ícono. Las mujeres teníamos con quien identificarnos en ese momento”, asegura. Al cuestionarle sobre si con su propuesta de alguna manera reivindica la bachata interpretada por voces femeninas, confiesa “me gusta pensar que sí, pero no descarto algún día fusionar con música urbana, porque la presencia de la mujer en la bachata todavía es muy invisible”. Andre Veloz entiende que aunque la mujer está ganando terreno en la industria del entretenimiento necesita ocupar puestos de jerarquía en las compañías que manejan la música y las empresas del espectáculo. “En el mundo anglosajón es muy diferente, por eso ves a tantas estrellas femeninas brillar en todo momento, aunque faltan más espacios. En el latino las estadísticas no son muy halagüeñas”, dice la artista que reside en los Estados Unidos.

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Related Links:

1. This is a version of the song used in a JUMBO supermarket commercial that that pays tribute to hard working women who need a break. Highly recommended #AUTHRES. https://tinyurl.com/y3jax88y

2. This is a live TV performance from Dominican Television. http://tinyurl.com/y5qaxz4z 3. This is the compact version of the song. It’s a little shorter and doesn’t include the references to “romo.” https://tinyurl.com/y5r2lnle 4. Think you really know this song well? Challenge yourself or students to keep up with the music in this fast-paced Karaoke video. https://tinyurl.com/y6ejgk24 5. Andre Veloz Talks Navigating Male-Dominated Genre & Body Positivity in an English language interview from “Ain’t I Latina?” https://tinyurl.com/y4xkowv2 5. Here is a video I made to illustrate the song vocabulary: https://tinyurl.com/y6hvojc4 Hear our podcast and visit our blog: extrachunkyspanish.com

Learn Spanish Through Music · 3 Spanish you will have acquired once you have mastered a...

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