Question: The origin of the genre of music that Jaime Enrique Amara primarily signs was in which country?

full_context: Document 1: Coti: Roberto Fidel Ernesto Sorokin Esparza, who performs under the stage name Coti, is an Argentine singer-songwriter, best known for collaborations with other Spanish-language artists like Andrés Calamaro (Arg), Julieta Venegas (Mex), Paulina Rubio (Mex) and Luis Miguel in his last album. His 2005 release, "Esta Mañana y Otros Cuentos" went gold in both Argentina and Mexico, while going double platinum in Spain.
Document 2: We Broke the Rules: We Broke the Rules is the second studio album by the Dominican-American band Aventura, released on July 2, 2002, by Premium Latin music. In "We Broke the Rules", Aventura pioneered the incorporation of elements of urban music like Pop, Hip-hop, and R&B, giving Bachata a new flavor and extending its appeal to those who preferred urban music styles. This new recipe used in "We Broke the Rules" gave birth to a new style of Bachata, “The NewYork School” or “Urban Bachata,” which is characterized by the inclusion of electric guitars instead of acoustic, and lyrics in Spanish and English instead of just Spanish. In addition, the singing style takes after R&B melodies. Part of this album’s success was because Aventura’s new style sounded smoother and more modern than previous Bachata groups’. "We Broke the Rules" was the beginning of Aventura’s success and the final step in solidifying Bachata as a relevant music genre, internationally speaking. The biggest hit of the album was a song called "Obsesión" featuring Judy Santos. According to the article called, "Aventura’s Adventure", “Obsesion, was the very first bachata act to land a No. 1 single, in Spanish, in virtually every European territory.” The song did more than just attract a Dominican or Spanish-speaking audience. Proof of its success is that the album sold around 1.5 million units internationally and remained in the number one position in the European charts in countries like Italy, France, Germany, and Norway for several weeks. For example, Obsession remained in the number one position in the French top 100 singles charts for seven weeks. Due to its sales, the song Obsession became the 442nd best selling in France’s music history. It was number one in the Italian top 50 singles for 16 weeks. The album’s themes mainly included heartbreak and melancholy, although it also included social themes like in “Amor de Madre,” or “Mother’s Love,” which is a song describing the lifelong struggle of a prostitute and her son. With its innovation and unique sound, "We Broke the Rules" opened the gates for a new era of Bachata, an era in which bachateros would not be considered third class musicians, but instead would be socially accepted, acclaimed, and respected.
Document 3: Sandro de América: Roberto Sánchez-Ocampo (August 19, 1945 – January 4, 2010), better known by his artist names Sandro/Sandro de América ("Sandro of America"), "Gitano" (gypsy), and the Argentine Elvis, was a notable Argentine singer and actor. He is considered The father of Argentine Rock for being one of the first rock artists to sing in Spanish in Latin America. He edited 52 official records and sold 50 million copies although other sources state that he sold over 75 million. Some of his most successful songs are "Dame fuego", "Rosa, Rosa", "Quiero llenarme de ti", "Penumbras", "Porque yo te amo", "Así", "Mi amigo el Puma", "Tengo", "Trigal" and "Una muchacha y una guitarra". The single "Rosa, Rosa" sold 2 million copies, being his most recognizable and famous song. Another of his hits, "Tengo" was given 15th place among the 100 best Argentine rock songs by both the MTV channel and "Rolling Stone" magazine.
Document 4: Music of Puerto Rico: The music of Puerto Rico has evolved as a heterogeneous and dynamic product of diverse cultural resources. The most conspicuous musical sources have been Spain and West Africa, although many aspects of Puerto Rican music reflect origins elsewhere in Europe and the Caribbean and, in the last century, the USA. Puerto Rican music culture today comprises a wide and rich variety of genres, ranging from essentially indigenous genres like bomba to recent hybrids like reggaeton. Broadly conceived, the realm of "Puerto Rican music" should naturally comprise the music culture of the millions of people of Puerto Rican descent who have lived in the USA, and especially in New York City. Their music, from salsa to the boleros of Rafael Hernández, cannot be separated from the music culture of Puerto Rico itself. Nevertheless, this entry will emphasize music culture as it has flourished on the island; readers should naturally consult other entries for genres like salsa (most commonly thought of).
Document 5: Women in Latin music: Women have made significant contributions to Latin music, a genre which predates Italian explorer Christopher Columbus' arrival in Latin America in 1492 and the Spanish colonization of the Americas. The earliest musicians were Native Americans, hundreds of ethnic groups across the continent, whose lyrics "reflect conflict, beauty, pain, and loss that mark all human experience." Indigenous communities reserved music for women, who were given equal opportunities with men to teach, perform, sing, and dance. Ethnomusicologists have measured ceramic, animal-bone, and cane flutes from the Inca Empire which indicate a preference for women with a high vocal range. Women had equal social status, were trained, and received the same opportunities in music as men in indigenous communities until the arrival of Columbus in the late 15th century. European settlers brought patriarchal, machismo ideologies to the continent, replacing the idea of equality between men and women. They equated native music with "savagery" and European music with "civilization". Female musicians tended to be darker-skinned as a result of the slave trade (which increased the population of African slaves), and contemporary society denigrated music as a profession. Latin music became Africanized, with syncopated rhythms and call-and-response; European settlement introduced harmony and the Spanish décima song form.
Document 6: Aida Cuevas: Aida Cuevas (] ; born September 24, 1963) is a famous Mexican singer who has created one of the most important careers in the traditional Mexican and Latin American music. Affectionately known as the "The Queen of Ranchera Music”, With a 40-year artistic career, this Latin Grammy Award winner and nominated singer has released 37 albums, selling more than 7 million copies worldwide. Cuevas is a master of the Mariachi art song, offering a full range of mariachi numbers including her infamous falsetto heavyweight "“El Pastor ” and "La Cigarra"", her iconic Juan Gabriel hits including "“Te Doy Las Gracias,” “Te Vas a Quedar Con Las Ganas,” and “Quizás Mañana,”" to the people pleasers "“Traición a Juan,” “Me Equivoque Contigo,” and “No Me Amenaces.”" Her unique voice and style have allowed her to cultivate a successful career spanning decades, leaving a remarkable imprint in the history of Mexican music.
Document 7: Jaime Enrique Aymara: Jaime Enrique Aymara Reinoso (Quito, June 24, 1968) is a singer and actor Ecuador of tecnocumbia, tecnopaseíto Bachata, national music, hall , pump Bolero, guayno jukebox pop music merengue, pop-flamenco, cumbia pop ballad, gravy , vallenato reggaeton and waltz. The lyrics of their songs are based on true stories of people in their country is known as "The idol of Ecuador" and "The idol of Quinceañeras", besides being much in demand in Latin concerts performed abroad as it is known for Ecuadorian emigrants.
Document 8: Luis Miguel: Luis Miguel Gallego Basteri (born April 19, 1970) is a Mexican singer and an icon in Latin America, he is often referred to as "El Sol de México" (The Sun of Mexico). He is one of the most successful artists in Latin American history, having successfully performed in a wide range of musical styles, including pop, ballads, boleros and mariachi. To date, he has sold over 100 million records worldwide.
Document 9: Bomba (Ecuador): Bomba or Bomba del Chota is an Afro-Ecuadorian music, dance and rum al form from the Chota Valley area of Ecuador in the province of Imbabura and Carchi. Its origins can be traced back to Africa via the middle passage and the use of African slave labor during the country's colonial period. Africans brought to labor as slaves in Ecuador brought with them this music form heavily influenced from the Bantu cultures of the Congo. The people dance in pairs to the drums and use improvisation to build relationships between the dancer and lead drummer.
Document 10: Guaracha: The guaracha (] ) is a genre of Cuban popular music, of rapid tempo and comic or picaresque lyrics. The word had been used in this sense at least since the late 18th and early 19th century. Guarachas were played and sung in musical theatres and in low-class dance salons. They became an integral part of bufo comic theatre in the mid-19th century. During the later 19th and the early 20th century the guaracha was a favourite musical form in the brothels of Havana. The guaracha survives today in the repertoires of some trova musicians, conjuntos and Cuban-style big bands.
Document 11: Bachata (music): Bachata is a genre of Latin American music that originated in the Dominican Republic in the first half of the 20th century with European, Indigenous and African musical elements.
Document 12: Olimpo Cárdenas: Olimpo Cárdenas (1919, Vinces – 1991) was an Ecuadorean singer. He toured Colombia a great deal, giving concerts in towns that had never had a performance in their short and long histories. Almost 50 years later he is remembered as the great and "famous" singer who sang boleros at a public performance in Villavicencio, in 1959.
Document 13: Enrique Iglesias: Enrique Miguel Iglesias Preysler ( ; ] ; born 8 May 1975) is a Spanish singer, songwriter, actor and record producer. He is widely regarded as the King of Latin Pop. Iglesias started his career in the mid-1990s on an American Spanish-language record label Fonovisa Records under the name Enrique Martinez, before switching to the stage name Enrique Iglesias and becoming one of the biggest stars in Latin America and the Hispanic market in the United States. By the turn of the millennium, he had made a successful crossover into the US mainstream market and signed a multi-album deal with Universal Music Group for US $68 million with Universal Music Latino to release his Spanish albums and Interscope Records to release English albums. In 2010, he parted with Interscope Records and signed with another Universal Music Group label Republic Records to release bilingual albums. In 2015, Iglesias parted ways with Universal Music Group after a decade. He signed with Sony Music; his upcoming albums will be by Sony Music Latin in Spanish and RCA Records in English.
Document 14: El General: Edgardo Armando Franco, better known as El General, is a Panamanian reggae artist considered by some to be one of the fathers of "Reggae En Español". During the early 1990s, he initiated the Spanish spoken dancehall. Early examples of this were the international and somewhat mainstream songs, “Te Ves Buena” and “Tu Pun Pun”. Both songs, performed in Spanish rap, were very successful in North America. After getting his foot in the door of the commercial market, many other Spanish rappers became famous in the mainstream as well, such as Vico C and DJ Negro. He has a unique, easy to listen to style of dance music and has produced many well-known songs all over Latin America. His musical works have become popular in Latin America over the last few years. This style is called Reggae en Español, because he makes dancehall reggae music with Spanish-language lyrics and is an early precursor to Reggaeton.
Document 15: Dance in Cuba: Cuban culture encompasses a wide range of dance forms. The island's indigenous people performed rituals known as areíto, which included dancing, although little information is known about such ceremonies. After the colonization of Cuba by the Spanish Kingdom, European dance forms were introduced such as the French contredanse, which gave rise to the Cuban contradanza. Contradanza itself spawned a series of ballroom dances between the 19th and 20th centuries, including the danzón, mambo and cha-cha-cha. Rural dances of European origin, such as the zapateo and styles associated with punto guajiro also became established by the 19th century, and in the 20th century son became very popular. In addition, numerous dance traditions were brought by black slaves from West Africa and the Congo basin, giving rise to religious dances such as Santería, yuka and abakuá, as well as secular forms such as rumba. Many of these dance elements from European dance and religious dances were fused together to form the basis of la técnica cubana. Cuban music also contributed to the emergence of Latin dance styles in the United States, namely rhumba (ballroom rumba) and salsa.
ground_truth: Dominican Republic