IDENTIDADES 1 ENGLISH IDENTIDADES 6 ENGLISH | Page 148

New York, and another at a theater, with
an audience made up almost entirely of
children. The park concert—along with
the film’s concert—ends with an
outburst of joy from the children, right
before the camera. “The only difference
between the street rumba and a theatrical
one is that in the theatrical one you have
to respect the director,” says rumbero
Román Díaz. But it doesn’t matter where
it is: “when it comes time for the
rumbero to play, he is trapped by the
rumba’s magic.” It is strange that in a
documentary as polyphonic as “ clave
blen…” everyone, the musicians,
scholars, audience, all seem to know
exactly what they are talking about, no
matter how elusive the topic they want
to define is—nothing more or less than
the