The Eduardo León Jimenes Foundation project celebrates its more than three years of work in favor of Dominican art and culture.

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The Cultural Center offered 14 temporary exhibitions in different Dominican and foreign spaces, about art, culture and archeology.

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During the Encuentro in the Media Library, different exponents of the bachata genre were highlighted.

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Photographs by Wifredo García, the writer René del Risco, dolls from around the world and pieces of Taíno art are the exhibition offer of the institution in the country and other destinations.

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Decade International Conference Music, Identity and Culture in the Caribbean (MIC) remain irreplaceable memories for participants who come closer to study these issues. Between 2005 and 2017, after seven editions, the protagonists of each musical genre studied leave testimonies of the way traveled, of the themes that have provoked emotions, dances and other feelings typical of the Caribbean human being.

In the VII MIC, dedicated to the bachatas and cords in the musical expressions of the Caribbean, the gatherings of the artists, besides attracting the presence of all the participants of the congress, left those memorable phrases that their interpreters contributed on the genre of bitterness.

The Dominicans Luis Segura, Leonardo Paniagua, Edilio Paredes and Anthony Rios participated in the first session of this meeting: eminently bachatera. The first two, bachateros of the first generation; Paredes, outstanding guitarist and Ríos, a singer who has transcended genres in the last 30 years.

Segura, also known as El Añoñaíto, took the opportunity to tell the story behind the famous Pena: it was inspired by a love affair in which the young woman never felt satisfied with the attentions he offered her. "I've always sung for people who have suffered in life," said the artist, one of the pioneers of bachata.

Paniagua, in addition to a recognized singer, is a story of self-improvement. After more than 1,025 songs recorded to date, the messenger is the National Institute of Drinking Water and Sewerage (Inapa). With My secret, the also pioneer of the genre has resurfaced as a contemporary for a generation that already had it as a classic. "I never sang, nor in the bathroom of my house." He confessed the small man but with imposing presence, while recalling experiences of his career, as the time he recorded in Mexico and mounted all the voices at once, impressing the studio technicians.

"If anyone wants a disc of mine, call me on the phone that I give it to them." The laughter did not wait when Paredes told with humor the limited success of their own records. However, no one denies its transcendent influence on the sound of bachata as it is now known, thanks to its peculiar way of playing guitars in this genre. And it should not surprise his talent: he learned to play guitar at the 3 years; At his first party he was paid 3 cheles.

Anthony Ríos concluded this first round of first-hand testimonies. "Bachata is nothing more than a tropical rhythmic bolero", summarized the artist to define a genre that in his words is "an important part of the Dominican Republic, which lives in each one of us".

The second session, more international and varied, had as protagonists the Panamanian Juan Andrés Castillo and the Dominicans José Manuel Calderón, Joe Veras and Víctor Víctor. Castillo, maestro of the mejoranera guitar, typical string instrument from Panama; Calderón, considered the father of bachata; You see, of the third generation of Dominican bachateros; and Víctor, one of the first to place bachata on the international scene.

"We must all look for a way to look for those expressions that are being lost," said the Panamanian folklorist who broke barriers in the capital of Panama. "Before the 11 years my father did not want anyone to play the instrument," he confessed. But life has been long fruitful after that first decade without touching.

Calderón took advantage of the encounter to give date to the birth of the bachata: the 30 of May of 1962. He says the same who admits that although he tried to play boleritos, they did not come out, what came out was bachata. And he admits it without egos the interpreter of that first song or bachata, called What will be of me.

Veras is known with the slogan "The man of your life", as one of his first bachatas says in achieving success. The native artist of Cotuí recognizes the value of the pioneers in the development of bachata with a definitive phrase: "Bachata has a shoe and today is a very big building". Differences between the new generation and the previous ones? Joe watches very few, just those that the time and the technological advances give to the projection of the bachata.

"This sound that was produced over time was changing, it was transforming". And Victor says that he is a percussionist and guitarist. He referred in his turn to the evolution of the bachata sound which allowed him to differentiate himself from the bolero that served as his base. The artist said that the bachata is living a moment of development: we do not have the definitive bachata, but the bachata of today. The merengue mentions during the whole congress were inevitable, taking into account that this genre precedes the bachata in age and both are part of the Dominican identity. Victor Victor closed the gathering with a phrase that claims both musical genres as brothers: "While the meringue enters by the feet and leaves through the heart; Bachata enters through the heart and out through the feet. "

Daniela Cruz Gil
Contents Generator at Centro León

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More than 200 people participated in the presentations, conferences and some two thousand more joined the concerts of the academic meeting dedicated to the bachatas and cuerdas in the musical expressions of the Caribbean.

Published in News 2017

Today's activities include a conference, sessions at the work tables and the Pioneros de la bachata show tonight.

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Today's activities include a conference, sessions at the work tables and the Pioneros de la bachata show tonight.

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During the 7, 8 and 9 days in April the city of Santiago de los Caballeros, in the Dominican Republic, receives specialists, researchers, cultural managers and artistic exponents, in the framework of the VII International Music, Identity and Culture Congress in the Caribbean .

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This edition of the Congress is dedicated to bachatas and cuerdas in Caribbean musical expressions.

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The academic and artistic event will be held on the 7, 8 and 9 days of April of the 2017 at the León Center.

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Night of trova in the Restoration Hall of the Gran Teatro del Cibao with the participation of José Antonio Rodríguez, Víctor Víctor, Pavel Núñez, Patricia Pereyra, Marel Alemani, Maya Oviedo, Xiomara Fortuna and Maridalia Hernández.

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During the 10, 11 and 12 days of April, the city of Santiago de los Caballeros, in the Dominican Republic, receives renowned specialists, researchers, cultural managers and great artistic exponents, within the framework of the VI International Conference on Music, Identity and Culture in the Caribbean (MIC VI).

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The inaugural night of the sixth International Conference on Music, Identity and Culture in the Caribbean (MIC VI), featured the artistic participation of national and international troubadours, who through a feeling shared by the music managed to captivate the audience.

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The show brought together the boleros of 36 Dominican composers, played by 12 vocalists along with the Big Band orchestra conducted by five of the most renowned musical directors in the country.

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The León Center auditorium was the space where the Special Panel was given"The bolero in the Dominican Republic and its international diffusion".

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This second version dedicated to Son and Salsa.

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The Eduardo Leon Jimenes Cultural Center, the Caribbean Studies Institute (INEC) and the State Secretariat of Culture presented the wide program of pre-Congress activities that will be held next September.

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The musicians, historians, musicologists, communicators and critics who participated in the Music, Identity and Culture Congress in the Caribbean, which was held at the León Center, had called for the Dominican dance to be held every year.

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At the conclusion of the fifth work session, the participants of the international event met in the auditorium to make a summary of the three-day meeting.

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