Roberto Clemente sits down with WPXI [then-WIIC]'s Sam Nover in October 1972, less than 3 months before his untimely passing. This is definitely his final at-length interview, and probably his only surviving extended interview that was captured visually. This was re-run by WPXI for the first time in 1989, and again on New Year's Eve 1997 [marking the 25th anniversary of his death], which is the source of this upload. I'm not sure if it's been shown again since then. In its original rerun, Sam Nover apologizes for the video quality, and John Fedko does the same in 1997, so I feel no obligation to do so in 2018!

When it comes to being counted in the census, the Garifunas, who are part African, part Caribbean and part Central American, say they don’t fit into any box.

Latin America and the Caribbean received 95 percent of the Africans stolen during the trans-Atlantic slave trade. But what does it mean to be a descendent of those Africans today, in a world where more voices are calling out racism in Latin America? Why do some Black Latinos call themselves "Afro-LatinX" and why do some others dislike the term? And do Afro-Puerto Ricans face similar struggles with policing, discrimination, and economic inequality as Black Americans outside of the island? In this new original documentary from theGrio, senior correspondent Natasha S. Alford (@natashasalford), traveled to Loiza, Puerto Rico during the 2019 summer of political unrest, where protesters ousted their governor. Through interviews with locals residents, scholars, and historians, Alford tells the story of an “Afro-LatinX Revolution.”

The Garifuna are a Central American people of West African and Native American descent. One of their most popular rituals is wanaragua, a three-fold system of masked Christmas processionals commonly called Jankunu. This ritual is a unique blend of African, European, and Native American (Arawak and Carib) art traditions in which social and cultural identities are expressed through music, dance, and costume. As dancers adorn themselves in colorful regalia to mimic past foreign oppressors they symbolically affirm their identity. They perform stylized movements to the accompaniment of drums and social commentary songs composed by men. Descriptions of the three processions and dance styles are interspersed with interviews by Garifuna singers, drummers, dancers, cultural advocates, and scholars on the significance of rituals.

A film which unearths the hidden history of black people in Argentina and their contributions to Argentine culture and society, from the slaves who fought in the revolutionary wars against Spain, to the contemporary struggles of black Argentines against racism and marginalization. It provides a counternarrative to the national myth of Argenitna's exclusively European heritage

Henry Louis Gates Jr. travels to Haiti, Dominican Republic, Cuba, Brazil, Mexico and Peru to discover the African influence on Latin America. He examines the shared legacy of colonialism and slavery in a region that imported ten times as many slaves as the United States, and kept them in bondage far longer. Gates finds that the influence of people of African descent has had a massive influence on the history and culture of Latin America and the Caribbean, despite sometimes being forgotten or ignored.

The music and dance in this documentary come from a corner of the African Diaspora with which few people are familiar: the Afro-Peruvians. One aim of the film is to acquaint the viewer with this lively and fascinating culture. In addition, the music is very attractive - upbeat and rhythmic. The dances are colorful. And the history of Afro-Peruvians, which is recounted in brief in the documentary, is highly reminiscent of that of African Americans. Our star is Lalo Izquierdo: dancer, choreographer, percussionist, and folklorist of his Afro-Peruvian community. Through his explanations and his performance, to say nothing of the choreographies he taught, we discover a part of Latin America that differs significantly from that with which we usually are in contact with. The filming took place in both California and Peru.