Fandango at the Wall (2020) - full transcript
Fandango at the Wall follows Afro Latin Jazz Orchestra founder/conductor Arturo O'Farrill to the remotest regions of Veracruz, Mexico, where he meets and jams with the masters of son ...
Good evening, everyone.
Good evening.
Hi. Welcome.
Hello.
Hi, everybody.
My name is Kabir Sehgal.
I'm the executive producer
of "Fandango at the Wall."
This is my mentor
and colleague Arturo O'Farrill.
Everyone,
Arturo O'Farrill.
And this is
Jorge Francisco Castillo.
Jorge is the inspiration
for Fandango Fronterizo,
and its founder.
This project has taken us
to the US-Mexico border
and beyond to Veracruz, Mexico,
where we met the incredible
son jarocho artists
who you will see tonight.
We recorded an album with them
and the Afro Latin
Jazz Orchestra in Tijuana
at the Fandango Fronterizo.
And now for the first time,
we're bringing that fandango
here to New York.
♪ ♪
♪ ♪
Chico and Lupe
are my mother and father
My father was a famous
Afro-Cuban jazz composer.
Considered one of
the architects
of Afro-Cuban Jazz.
We, had, um...
a big ceremony
when they unveiled
the street sign
and we planned this concert
at the Soldiers
and Sailors Monument.
And we had Wyn Marsalis
and Paquito D'Rivera,
and the
Afro Latin Jazz Orchestra.
We had, like, a sound system
and a whole stage,
and it rained like crazy.
My mother was, uh,
brought to Nuevo Laredo, Texas,
at the age of 12 to sing,
and she just kind of
was a child
Mexican singer and, um...
From her I got
this real sense of justice.
I got this real sense
of what ought to be
and what is not right.
And this is kind of
what happened
when I came upon
this article,
uh, about
Jorge Francisco Castillo
and about
the whole concept of, um...
The whole concept of being
an immigrant, being a Mexican.
Being...
a non...
Being not the member
of the dominant,
uh, societal, uh, culture.
Arturo and I were
having dinner together
and he said, "I came across
this article in the newspaper."
So I said, "Let me see it."
And I read it.
And it was
about this, uh, festival
that happens
at the border wall
between San Diego
and Tijuana.
And all it said was
there was this man
named Jorge Castillo
and he's a librarian.
And he puts on a festival
called Fandango Fronterizo.
This is the wall
that I came to visit
for the first time in 2007.
And I saw some families
on the other side.
And I remember a little boy
handed me a bottle of water.
And shaking my hand.
And I was totally shocked
by that action and...
immediately to my mind
came the possibility
of having a fandango
in this place.
I ended up starting,
just to call
all the local libraries in...
in San Diego.
And I finally found Jorge.
And then I asked him
whether he would like
to join Arturo and me
at the border
between the United States
and Mexico
to record a live album
inspired by what he started.
- Welcome to Mexico.
- Mexico.
México.
Welcome, everyone,
to day number one
of "Fandango at the Wall."
This is an incredible project
we're bringing together.
Probably 150 people
to make a statement.
To make music,
but really to, uh,
to dramatize what's going on
in our countries.
To bring people
and countries together.
We're doing something
that's never been done before.
And we're doing something
that we hope will draw
all of us together
in a way that, um,
nothing like music can.
Bienvenidos.
Welcome, everybody.
We're really honored
to have all of you here.
Starting with
Arturo and Kabir.
It's a real blessing
to have so many people
in-- in Tijuana,
being part of
the Fandango Fronterizo.
It's gonna be a great experience
to play together
tomorrow at the--
at the wall.
And, uh, to be part
of one family.
That's the whole idea.
I really...
I'm really touched with this.
This is really amazing.
It's very emotional.
Thank you so much. Thank you.
Thank you, guys.
Thank you.
Thank you.
♪ ♪
♪ ♪
♪ ♪
♪ ♪
It's 40 feet from here,
is the US border.
No wall's gonna stop us, man.
No.
Down!
Next year,
the demilitarized zone.
There's, like,
75,000 guns in Mexico
that have been traced to America.
- Yeah.
- So the drugs are going this way.
- Right, and the guns...
And the money and guns
coming this way.
I know.
- And it's like this loop.
A vicious loop of drugs,
people, money, all tied up.
And the addictions
are right here.
♪ ♪
♪ ♪
Arturo.
♪ ♪
♪ ♪
I walked up to the water
and I felt
my mother's presence
on this project.
It's incredibly
important to me
that people have been gathered
from every corner of the Earth
to the border.
To New York. To Veracruz.
To San Diego. To Tijuana.
From Iran. From Iraq.
Uh, people who
have never met
have gathered
around this campfire
that we've built.
And I'm just really grateful
that this is the way
my life's energy
is being spent right now.
♪ ♪
I think I'm a free soul,
that I like to travel,
I like to meet people.
And that's how
son jarocho came to me.
I was going through
a divorce
at that time,
in-- in my life.
So, uh...
I was kinda like at a stage
where I didn't know
where I was going
with the music,
with the...
Well, a lot of things
were happening.
My kids were growing up,
they were leaving
the house.
And then son jarocho came to me
and, and brought me all
these friends and people
and all this community.
And I fell in love
with this music.
I just felt like, uh,
it-it held me in its arms.
And it was hugging me
all the time.
Even though
I was born in Texas
and then raised
in Juarez, Mexico,
and being in California
and then Tijuana,
and connect all this music
and all this
through this movement
of the Fandango.
It's been one of
the best experiences in my life.
Jorge said to me, if you're
gonna make an album
that features son jarocho music
you have to come to Veracruz
and learn about this music
and meet
the masters themselves.
So I said Arturo,
"We're going to Veracruz."
♪ ♪
Jacob was telling me...
that this is
sacred magic land.
Exactly.
That little mystical creatures
called Pecheques or...
- Chaneques.
- Chaneques.
- Chaneques.
- Chaneques.
And that this whole area
is known
for mystical occurrences.
- Sí.
- And so, you...
Yeah, you come here
and you kinda feel that.
You feel that there is
something in the Earth here.
There's something
in the air here that is--
I think you have some Chaneques
within you, Arturo.
- I think--
- Probably, we all do.
No, it's funny, now that I think of,
at just this very moment,
I remember
visiting my friend
in the University
of Vermont.
And him giving me
a whole rundown
of how the only place
in Mexico
that really has
Afro-Mexican music
is son jarocho in Veracruz.
And how the roots
of son jarocho
and Afro-Mexican music
is directly traced
to the, uh, the landing
of slave ships here.
Don Andres
is almost 90 years old,
and to me this, uh, icon.
He's one of the best
son jarocho musicians.
♪ ♪
♪ ♪
Sí, sí, sí.
Martha is one of today's
most accomplished dancers.
Or like we say
in son jarocho, zapateado.
Dancing is very important
for son jarocho
'cause that's your percussion.
The dancer is the drummer.
♪ ♪
Oh!
Ohh!
Do you want me
to go get it?
No, it's okay.
Arturo.
La tierra.
Exactly.
Beautiful with the animals.
I just felt like
I was in a...
not a postcard, but...
in a, like,
a time capsule in a way.
Everyone in the kitchen
yesterday making
that best, amazing meal
and those tortillas.
- Bro! What about those tortillas?
- Oh, my God.
Those tortillas are,
like, I don't know,
I can't get them
out of my mind.
Bro, I don't think
I'm ever...
Jorge, I don't think I'm ever
gonna have a tortilla again.
Ever.
Unless I come here.
How often do you come now?
- You come like every year?
- Oh, I...
I come like two or three times
a year now.
And-- and I love it.
Uh, I love it.
Although I try
to avoid the summer.
Yeah.
♪ ♪
♪ ♪
Ramon Gutierrez is one of
the best requinto players.
And requinto is the lead guitar
of the son jarocho.
He likes to improvise a lot.
So, I think he will be perfect
for this encounter
with the Afro Latin
Jazz Orchestra
at the Fandango Fronterizo.
♪ ♪
♪ ♪
♪ ♪
The leona is the bass
of son jarocho.
And Tacho is
an accomplished leona player.
One of the best.
And Wendy is fantastic
with the quijada,
a percussive instrument
also known as the jawbone.
♪ ♪
♪ ♪
Patricio Hidalgo,
one of the best musicians
in modern son jarocho
and at the same time
he is like a mentor to me.
And he motivated me
to be part of this music.
♪ ♪
♪ ♪
Fernando Guadarrama
is a great poet.
In son jarocho, the decima
is like a poem of ten lines.
Fernando will improvise.
Improvising on the spot
is not easy.
And he is one of the best,
so I thought he will be
a perfect match
for the Fandango Fronterizo.
♪ ♪
One of the things I really
like about the borderlands
is that people who grow up
in the borderlands
grow up speaking
two languages,
and America is one of
the few places in the world
that if you speak
one language,
you're considered
well educated.
- No matter where you are.
- Yeah.
That's true.
And so, when you talk about
the kinda world
we're living in,
we're increasingly
living together.
We can communicate
with anyone online.
Being able to speak
different languages.
We all come
from kinda different...
We're kinda like
hyphenated Americans, right?
I'm an Indian American.
You're a Mexican
Irish American.
Jorge here, bi...
Bi-national, right?
Mexican American.
And so being
a hyphenated American,
I think is increasingly
the future
because Hispanics
are gonna be
the largest minority
majority group in America,
if not they're...
if they aren't already.
And it just...
the sooner you encounter people
who are different from you,
it prepares you
for the world.
Do you think that there should be no border wall?
Yeah, I-I think, uh...
There should be no wall?
There should be
no wall.
Do you want the wall
to go away?
I think it's a meaningless...
Your book states
the statistics...
- Right. But--
- That... No.
Your book states
the statistics
that most
of the illegal immigration
is visa overstays.
It takes place
through border points.
That most of the drugs
go through border points.
The wall is ineffective.
It has been ineffective.
It will...
If you can make it
profitable to be peaceful,
that's the way to do it.
When you...
When you...
When you have to
rely on someone
to get a part
of an automobile
or you're part of
the supply chain, like...
That's good business, yeah.
You make it profitable
to do work with each other.
In Atlanta,
where I'm from,
blacks and whites do
joint business deals together,
they bid on contracts.
When you work with someone,
you don't wanna kill 'em.
You wanna make
money together.
So I say, how do we make
this borderland community?
How do we bring
more industry there
and do cross-border factories?
- Cross-border commerce.
- But--
Cross-border trade.
- But think about--
- Really across border.
But if it's...
if it's equal
then-- then it'll work.
My story goes
right to that matter
because I escaped...
Iraq in 1991
to Jordan with
false travel document.
And, uh, crossing
another border to Syria,
to Damascus.
As an Iranian person,
I've been in that situation.
But in my country,
I'm as a Baha'i,
that I practice
another religion,
not Muslim.
I wasn't able to go
to university
for higher education
after high school.
So I came to the United States
to just have
um, I mean,
better situation
for studying
and introducing my culture.
You're saying we can
only drive during the day?
We shouldn't drive at night?
- In this land?
- Yeah.
Yeah, it-- unfortunately,
these days it has become
very, very unsecure.
What's the worst
that could happen?
Like someone
stops us right now,
what would happen?
Well, you know,
we could be stopped
at any moment.
And hopefully
it doesn't happen.
Some guys could
all of a sudden stop you
in the middle of the road
with weapons
and ask you
to get out of your car
and-- and either kidnap you,
take your belongings away
or-or even, you know,
worse comes to worse,
I mean, they can even...
disappear you.
I mean, unfortunately
that's the kind of,
uh, situation
that is going on in--
in this area
and a lot of places
in Mexico right now.
♪ ♪
When I was talking
to Patricio one day,
Patricio Hidalgo,
he mentioned one time,
you know, um, Fandango...
is the road of peace.
The road of peace
in Veracruz.
I never been to a Fandango,
uh, either in
Veracruz or Tijuana
or San Diego, LA, wherever.
There is never violence, so...
so it feels like--
like this Chaneques
that we were talking about
are protecting us
all the time.
♪ ♪
When you come here
oddly you don't feel,
uh, sad.
You feel a spiritual sense.
And you feel empowered
on the human spirit
because of how they've taken
what was an abomination,
have turned it into
something of the human
imagination and beauty.
One of the musicians
yesterday
said something
that was so heavy.
He said this wall
is not dividing us,
it's uniting us.
How do you think, Arturo,
the music makes a difference?
I've been traveling
as musician
since I was 17 or 18.
So I always considered
myself a borderless person.
Yeah.
Japan, Germany,
Korea, Russia.
So, you don't really
think about the fact
that there's passports
and borders and things.
You become
accustomed to the idea
that you belong
to all of this.
And this is just...
This is an aberration.
The thing that's odd if
you think about with, uh...
Ronald Reagan
who is considered the...
paragon of
American conservatism
talking about "Mr. Gorbachev,
tear down this wall,"
and giving that
amazing speech in Berlin
about fighting for freedom,
and then you come
to the US-Mexican border
and see an ugly barrier here
of just metal jagging up
and it kind of speaks against
American democratic ideals
to be, I think, treating our--
our border zone in such a way.
Sí, bueno, bueno, bueno.
This has been a reality
for the last...
What, 50 years...
Fifty years.
Having this thing here,
right here.
It needs to come down.
And this is gonna
bring it down, eh.
Art, music, culture.
It goes right through.
Our music goes
right through.
High pinky.
High pinky.
High pinky!
High pinky.
Wow!
Every time you do that,
the wall shakes.
♪ ♪
♪ ♪
♪ ♪
♪ ♪
After Fandango Fronterizo,
we coined this phrase
"The Fandango Doctrine,"
which is all about
bringing the fandango
to different places
around the world.
And we thought,
what better place
than our hometown of New York?
♪ ♪
♪ ♪
Wee-hee!
♪ ♪
Arturo!
You're welcome to dance.
♪ ♪
♪ ♪
Whoo!
♪ ♪
Good evening.
Hi. Welcome.
Hello.
Hi, everybody.
My name is Kabir Sehgal.
I'm the executive producer
of "Fandango at the Wall."
This is my mentor
and colleague Arturo O'Farrill.
Everyone,
Arturo O'Farrill.
And this is
Jorge Francisco Castillo.
Jorge is the inspiration
for Fandango Fronterizo,
and its founder.
This project has taken us
to the US-Mexico border
and beyond to Veracruz, Mexico,
where we met the incredible
son jarocho artists
who you will see tonight.
We recorded an album with them
and the Afro Latin
Jazz Orchestra in Tijuana
at the Fandango Fronterizo.
And now for the first time,
we're bringing that fandango
here to New York.
♪ ♪
♪ ♪
Chico and Lupe
are my mother and father
My father was a famous
Afro-Cuban jazz composer.
Considered one of
the architects
of Afro-Cuban Jazz.
We, had, um...
a big ceremony
when they unveiled
the street sign
and we planned this concert
at the Soldiers
and Sailors Monument.
And we had Wyn Marsalis
and Paquito D'Rivera,
and the
Afro Latin Jazz Orchestra.
We had, like, a sound system
and a whole stage,
and it rained like crazy.
My mother was, uh,
brought to Nuevo Laredo, Texas,
at the age of 12 to sing,
and she just kind of
was a child
Mexican singer and, um...
From her I got
this real sense of justice.
I got this real sense
of what ought to be
and what is not right.
And this is kind of
what happened
when I came upon
this article,
uh, about
Jorge Francisco Castillo
and about
the whole concept of, um...
The whole concept of being
an immigrant, being a Mexican.
Being...
a non...
Being not the member
of the dominant,
uh, societal, uh, culture.
Arturo and I were
having dinner together
and he said, "I came across
this article in the newspaper."
So I said, "Let me see it."
And I read it.
And it was
about this, uh, festival
that happens
at the border wall
between San Diego
and Tijuana.
And all it said was
there was this man
named Jorge Castillo
and he's a librarian.
And he puts on a festival
called Fandango Fronterizo.
This is the wall
that I came to visit
for the first time in 2007.
And I saw some families
on the other side.
And I remember a little boy
handed me a bottle of water.
And shaking my hand.
And I was totally shocked
by that action and...
immediately to my mind
came the possibility
of having a fandango
in this place.
I ended up starting,
just to call
all the local libraries in...
in San Diego.
And I finally found Jorge.
And then I asked him
whether he would like
to join Arturo and me
at the border
between the United States
and Mexico
to record a live album
inspired by what he started.
- Welcome to Mexico.
- Mexico.
México.
Welcome, everyone,
to day number one
of "Fandango at the Wall."
This is an incredible project
we're bringing together.
Probably 150 people
to make a statement.
To make music,
but really to, uh,
to dramatize what's going on
in our countries.
To bring people
and countries together.
We're doing something
that's never been done before.
And we're doing something
that we hope will draw
all of us together
in a way that, um,
nothing like music can.
Bienvenidos.
Welcome, everybody.
We're really honored
to have all of you here.
Starting with
Arturo and Kabir.
It's a real blessing
to have so many people
in-- in Tijuana,
being part of
the Fandango Fronterizo.
It's gonna be a great experience
to play together
tomorrow at the--
at the wall.
And, uh, to be part
of one family.
That's the whole idea.
I really...
I'm really touched with this.
This is really amazing.
It's very emotional.
Thank you so much. Thank you.
Thank you, guys.
Thank you.
Thank you.
♪ ♪
♪ ♪
♪ ♪
♪ ♪
It's 40 feet from here,
is the US border.
No wall's gonna stop us, man.
No.
Down!
Next year,
the demilitarized zone.
There's, like,
75,000 guns in Mexico
that have been traced to America.
- Yeah.
- So the drugs are going this way.
- Right, and the guns...
And the money and guns
coming this way.
I know.
- And it's like this loop.
A vicious loop of drugs,
people, money, all tied up.
And the addictions
are right here.
♪ ♪
♪ ♪
Arturo.
♪ ♪
♪ ♪
I walked up to the water
and I felt
my mother's presence
on this project.
It's incredibly
important to me
that people have been gathered
from every corner of the Earth
to the border.
To New York. To Veracruz.
To San Diego. To Tijuana.
From Iran. From Iraq.
Uh, people who
have never met
have gathered
around this campfire
that we've built.
And I'm just really grateful
that this is the way
my life's energy
is being spent right now.
♪ ♪
I think I'm a free soul,
that I like to travel,
I like to meet people.
And that's how
son jarocho came to me.
I was going through
a divorce
at that time,
in-- in my life.
So, uh...
I was kinda like at a stage
where I didn't know
where I was going
with the music,
with the...
Well, a lot of things
were happening.
My kids were growing up,
they were leaving
the house.
And then son jarocho came to me
and, and brought me all
these friends and people
and all this community.
And I fell in love
with this music.
I just felt like, uh,
it-it held me in its arms.
And it was hugging me
all the time.
Even though
I was born in Texas
and then raised
in Juarez, Mexico,
and being in California
and then Tijuana,
and connect all this music
and all this
through this movement
of the Fandango.
It's been one of
the best experiences in my life.
Jorge said to me, if you're
gonna make an album
that features son jarocho music
you have to come to Veracruz
and learn about this music
and meet
the masters themselves.
So I said Arturo,
"We're going to Veracruz."
♪ ♪
Jacob was telling me...
that this is
sacred magic land.
Exactly.
That little mystical creatures
called Pecheques or...
- Chaneques.
- Chaneques.
- Chaneques.
- Chaneques.
And that this whole area
is known
for mystical occurrences.
- Sí.
- And so, you...
Yeah, you come here
and you kinda feel that.
You feel that there is
something in the Earth here.
There's something
in the air here that is--
I think you have some Chaneques
within you, Arturo.
- I think--
- Probably, we all do.
No, it's funny, now that I think of,
at just this very moment,
I remember
visiting my friend
in the University
of Vermont.
And him giving me
a whole rundown
of how the only place
in Mexico
that really has
Afro-Mexican music
is son jarocho in Veracruz.
And how the roots
of son jarocho
and Afro-Mexican music
is directly traced
to the, uh, the landing
of slave ships here.
Don Andres
is almost 90 years old,
and to me this, uh, icon.
He's one of the best
son jarocho musicians.
♪ ♪
♪ ♪
Sí, sí, sí.
Martha is one of today's
most accomplished dancers.
Or like we say
in son jarocho, zapateado.
Dancing is very important
for son jarocho
'cause that's your percussion.
The dancer is the drummer.
♪ ♪
Oh!
Ohh!
Do you want me
to go get it?
No, it's okay.
Arturo.
La tierra.
Exactly.
Beautiful with the animals.
I just felt like
I was in a...
not a postcard, but...
in a, like,
a time capsule in a way.
Everyone in the kitchen
yesterday making
that best, amazing meal
and those tortillas.
- Bro! What about those tortillas?
- Oh, my God.
Those tortillas are,
like, I don't know,
I can't get them
out of my mind.
Bro, I don't think
I'm ever...
Jorge, I don't think I'm ever
gonna have a tortilla again.
Ever.
Unless I come here.
How often do you come now?
- You come like every year?
- Oh, I...
I come like two or three times
a year now.
And-- and I love it.
Uh, I love it.
Although I try
to avoid the summer.
Yeah.
♪ ♪
♪ ♪
Ramon Gutierrez is one of
the best requinto players.
And requinto is the lead guitar
of the son jarocho.
He likes to improvise a lot.
So, I think he will be perfect
for this encounter
with the Afro Latin
Jazz Orchestra
at the Fandango Fronterizo.
♪ ♪
♪ ♪
♪ ♪
The leona is the bass
of son jarocho.
And Tacho is
an accomplished leona player.
One of the best.
And Wendy is fantastic
with the quijada,
a percussive instrument
also known as the jawbone.
♪ ♪
♪ ♪
Patricio Hidalgo,
one of the best musicians
in modern son jarocho
and at the same time
he is like a mentor to me.
And he motivated me
to be part of this music.
♪ ♪
♪ ♪
Fernando Guadarrama
is a great poet.
In son jarocho, the decima
is like a poem of ten lines.
Fernando will improvise.
Improvising on the spot
is not easy.
And he is one of the best,
so I thought he will be
a perfect match
for the Fandango Fronterizo.
♪ ♪
One of the things I really
like about the borderlands
is that people who grow up
in the borderlands
grow up speaking
two languages,
and America is one of
the few places in the world
that if you speak
one language,
you're considered
well educated.
- No matter where you are.
- Yeah.
That's true.
And so, when you talk about
the kinda world
we're living in,
we're increasingly
living together.
We can communicate
with anyone online.
Being able to speak
different languages.
We all come
from kinda different...
We're kinda like
hyphenated Americans, right?
I'm an Indian American.
You're a Mexican
Irish American.
Jorge here, bi...
Bi-national, right?
Mexican American.
And so being
a hyphenated American,
I think is increasingly
the future
because Hispanics
are gonna be
the largest minority
majority group in America,
if not they're...
if they aren't already.
And it just...
the sooner you encounter people
who are different from you,
it prepares you
for the world.
Do you think that there should be no border wall?
Yeah, I-I think, uh...
There should be no wall?
There should be
no wall.
Do you want the wall
to go away?
I think it's a meaningless...
Your book states
the statistics...
- Right. But--
- That... No.
Your book states
the statistics
that most
of the illegal immigration
is visa overstays.
It takes place
through border points.
That most of the drugs
go through border points.
The wall is ineffective.
It has been ineffective.
It will...
If you can make it
profitable to be peaceful,
that's the way to do it.
When you...
When you...
When you have to
rely on someone
to get a part
of an automobile
or you're part of
the supply chain, like...
That's good business, yeah.
You make it profitable
to do work with each other.
In Atlanta,
where I'm from,
blacks and whites do
joint business deals together,
they bid on contracts.
When you work with someone,
you don't wanna kill 'em.
You wanna make
money together.
So I say, how do we make
this borderland community?
How do we bring
more industry there
and do cross-border factories?
- Cross-border commerce.
- But--
Cross-border trade.
- But think about--
- Really across border.
But if it's...
if it's equal
then-- then it'll work.
My story goes
right to that matter
because I escaped...
Iraq in 1991
to Jordan with
false travel document.
And, uh, crossing
another border to Syria,
to Damascus.
As an Iranian person,
I've been in that situation.
But in my country,
I'm as a Baha'i,
that I practice
another religion,
not Muslim.
I wasn't able to go
to university
for higher education
after high school.
So I came to the United States
to just have
um, I mean,
better situation
for studying
and introducing my culture.
You're saying we can
only drive during the day?
We shouldn't drive at night?
- In this land?
- Yeah.
Yeah, it-- unfortunately,
these days it has become
very, very unsecure.
What's the worst
that could happen?
Like someone
stops us right now,
what would happen?
Well, you know,
we could be stopped
at any moment.
And hopefully
it doesn't happen.
Some guys could
all of a sudden stop you
in the middle of the road
with weapons
and ask you
to get out of your car
and-- and either kidnap you,
take your belongings away
or-or even, you know,
worse comes to worse,
I mean, they can even...
disappear you.
I mean, unfortunately
that's the kind of,
uh, situation
that is going on in--
in this area
and a lot of places
in Mexico right now.
♪ ♪
When I was talking
to Patricio one day,
Patricio Hidalgo,
he mentioned one time,
you know, um, Fandango...
is the road of peace.
The road of peace
in Veracruz.
I never been to a Fandango,
uh, either in
Veracruz or Tijuana
or San Diego, LA, wherever.
There is never violence, so...
so it feels like--
like this Chaneques
that we were talking about
are protecting us
all the time.
♪ ♪
When you come here
oddly you don't feel,
uh, sad.
You feel a spiritual sense.
And you feel empowered
on the human spirit
because of how they've taken
what was an abomination,
have turned it into
something of the human
imagination and beauty.
One of the musicians
yesterday
said something
that was so heavy.
He said this wall
is not dividing us,
it's uniting us.
How do you think, Arturo,
the music makes a difference?
I've been traveling
as musician
since I was 17 or 18.
So I always considered
myself a borderless person.
Yeah.
Japan, Germany,
Korea, Russia.
So, you don't really
think about the fact
that there's passports
and borders and things.
You become
accustomed to the idea
that you belong
to all of this.
And this is just...
This is an aberration.
The thing that's odd if
you think about with, uh...
Ronald Reagan
who is considered the...
paragon of
American conservatism
talking about "Mr. Gorbachev,
tear down this wall,"
and giving that
amazing speech in Berlin
about fighting for freedom,
and then you come
to the US-Mexican border
and see an ugly barrier here
of just metal jagging up
and it kind of speaks against
American democratic ideals
to be, I think, treating our--
our border zone in such a way.
Sí, bueno, bueno, bueno.
This has been a reality
for the last...
What, 50 years...
Fifty years.
Having this thing here,
right here.
It needs to come down.
And this is gonna
bring it down, eh.
Art, music, culture.
It goes right through.
Our music goes
right through.
High pinky.
High pinky.
High pinky!
High pinky.
Wow!
Every time you do that,
the wall shakes.
♪ ♪
♪ ♪
♪ ♪
♪ ♪
After Fandango Fronterizo,
we coined this phrase
"The Fandango Doctrine,"
which is all about
bringing the fandango
to different places
around the world.
And we thought,
what better place
than our hometown of New York?
♪ ♪
♪ ♪
Wee-hee!
♪ ♪
Arturo!
You're welcome to dance.
♪ ♪
♪ ♪
Whoo!
♪ ♪