I will be presenting (20 seconds, 20 images) on the legacy of Al-Andalus, Muslim reign in Spain at Da Vinci Art Alliance in Philadelphia.
For more information: Facebook Event
For tickets: DVAA Eventbrite
DVAA: Da Vinci Art Alliance
En la ciudad de Granada, en la Avenida de la Constitución, se encuentran diez esculturas de figuras históricas que tienen que ver con la provincia. Inauguraron esta galería de arte al aire libre el 26 de marzo de 2010–con aparencias y presentaciones del alcade del momento (José Torres Hurtado) y algunos descendientes de las figuras comemoradas.
La primera estatua es de un militar de la época de los reyes católicos, Gonzalo Fernández de Córdoba. Nació en Córdoba pero peleó en Granada. La escultura es de su cabeza, nada más, y es muy grande. Lo llamaban el “Gran Cápitan.” Dirigió tropas de los reyes católicos en las guerras contra los reinos musulmanes en el siglo 15. Miguel Moreno Romera es el artista. Otras estatuas son de Elena Martín Vivaldi, Federico García Lorca, Manuel Benitez Carrasco, San Juan de la Cruz, Manuel de Fall, Pedro Antonio de Alarcón, María de la Canastera, Eugenia de Montijo y Frascuelo.
Manuel de Falla, gran compositor de música española, que vivió en Granada y se interesó por lo folclórico y F. G. Lorca, el dramaturgo/poeta, son muy famosos e integrados en la historia y cultura de Granada. Ramiro Megías hizo la escultura de Manuel de Falla, y Juan Antonio Corredor hizo la de Lorca.
Pedro Antonio Alarcón era un escritor de origen humilde. Su escultura lo muestra sentando en un banco leyendo un libro. El nació en Guadix en 1833 y murió en 1891. Escribió “El sombrero de tres picos” –también es un ballet del maestro de Falla. La acción toma lugar en Andalucía. Su estatua fue hecha por Manuel Barranco.
Pero también hay mujeres representadas en este desfile de grandes. Por ejemplo, Maria de la Canastera nación en Granada el 27 de febrero de 1913 y era bailarina de zambras, y gitana. Su estatua la tiene en una pose de flamenco con tres sillas. Lleva un traje tradicional de flamenco con una flor en el cabello. Su cueva es aun muy famosa y visitada para el baile.
¡Visite esta calle bonita de Granada para conocer la historia y disfrutar de esa maravillosa arte!
Federico García Lorca is Spain’s most popular playwright/poet of the 20th century. Unfortunately, his life was cut short by events leading up to the Spanish Civil War, but his poetry and plays live on in the hearts and minds of the people. Blood Wedding or in Spanish, Bodas de sangre, is part of a trilogy of plays that includes the phenomenally well known La casa de Bernarda Alba (The House of Bernarda Alba), and the less often produced, Yerma. Almost everbody in Spain and most of Latin America is familiar with these plays. In addition, the Repertorio Español in New York, has had La casa de Bernarda Alba in repertory for decades, and in Philadelphia, a captivating bilingual version was recently staged in the 2016 Fringe Festival. Wilma Theater’s new production of Blood Wedding in Philadelphia is further proof that there are no national borders that limit the appreciation of Lorca’s art.
In my opinion, Lorca’s plays in English tend to be less successful than those done in Spanish or bilingually, even though they are more accessible to an American audience, many who have never heard of Lorca and don’t speak Spanish either. There is a poetry, a cadence, a rhythm and passion to the words that is sometimes lost in translation. Also, when producing his plays in English, there may be an attempt to “make it Spanish” with realistic set, period costumes and even Spanish music, but that can seem superficial alongside English words and inauthentic gestures/body language.
Wilma Theater employs an original English translation by Nahuel Telleria, and takes a novel approach to Blood Wedding. It avoids the previous mentioned pitfalls, by stripping Blood Wedding down to its pure emotion and action.The plot revolves around a young woman who is going to marry a man that she does not love. She has been involved with another man who comes from a family that is notorious for violence, and there is an ongoing feud between her fiance’s family and the old lover’s family because of previous murders. Hungarian director and choreographer, Csaba Horváth, builds a world onstage that is full of movement, intensity and sound. This production has a sparse set and dramatic lighting, both designed by Thom Weaver. Sound design is by Larry D. Fowler, Jr. and Oana Botez fashioned simple costumes that are appropriate for the physical movement required. Blood Wedding incorporates live (non-Spanish) music composed by Csaba Okros, and sung and played by the actors themselves.
Blood Wedding as physical theatre works. The action is riveting and all attention is on the performers since there is no fussy set to distract. The choreography is innovative and utilizes the entire stage and a balcony on a second level. The characters also sing, chant and play instruments. But the music, like the interactions, is earthy and raw. This fits in well with the rural characters’ motivations, frustrations and passions.
The ensemble has been preparing the movement in Blood Wedding for over a year. Most of the cast are members of “Wilma HotHouse” and include: Ross Beschler, Taysha Marie Canales, Sarah Gliko, Justin Jain, Jered McLenigan, Campbell O’Hare, Jaylene Clark Owens, Brett Ashley Robinson, Matteo Scammell, Lindsay Smiling and Ed Swidey. As the Bride, Campbell O’Hare is most expressive in her dancing and physical movement. She is able to convey the desire and insecurity of a young woman marrying a man she doesn’t love while pining for another. Ed Swidey, as her father, handles Lorca’s words naturally–the part seems written for him. As the groom’s mother, Jaylene Clark Owens’ is a strong, yet wary matriarch. Lindsay Smiling, as Leonardo (the old flame) in terms of dance/physical technique, is a supportive partner in the pas-de-deux with both his wife, played by Sarah Gliko,
and lover (O’Hare). He communicates his conflicting feelings through the choreography. Sarah Gliko stands out, not only for her acting and movement, but for her singing and playing musical instruments throughout the show.
Wilma Theater is known for its experimental theatre, so it is in its tradition to do something “different” with one of Lorca’s masterpieces. This Blood Wedding is an experience that will appeal particularly to those who appreciate experimental approaches, dance and physical theatre. If you are looking for flamenco, Spanish costumes, an elaborate set, and want to revel in the sound of Lorca’s verse, look elsewhere. Movement and pure emotion take center stage in this production.
Please note that the running time of Blood Wedding is an hour and fifty minutes, with NO intermission.
Creator and director, Ibrahim Guerra, has been in residence to mount the Philadelphia version of this compelling experience. Don’t miss it!
The morning is loud and busy as children rush into the playground eager to see their friends, high up on the hill in the Albaicin, the old moorish neighborhood. An owl´s hooting keeps a constant pulse amidst the children´s exuberant laughter and high pitched chatter. An occasional patter of feet running and the sweet whistle of another bird provide some counterpoint. Dropping off children, moms and other passerbys speak in low hushed tones, as they begin their day.
After the siesta, later in the day, I walk around the Albaicin, on the way to the Corte Inglés department store, located in the more modern part of Granada. Gingerly descending the ¨Cuesta de María de la miel¨(Honey Mary) I hear the sounds of a guitar in the distance. There are many ¨cuestas¨, steep hill paths in the Albaicin. At the next landing I encountered a man playing the guitar. I think the piece was Spanish Romance. I dropped a one euro coin in his cup and listened discretely from across the street as he plucked expertly.
I kept walking down the hill finally reaching the Gran Via. Now there would be easy walking, no more cuestas! While on Calle de la Virgen, behind the Corte Ingles, I caught the Pachabel Canon by a string quartet: 2 violins, a guitar and a cello:
The short street has a pedestrian walkway between two roads for cars. Each end opens up to a plaza with its own fountain. With gushing water bookending this tree lined avenue at sunset, listening to the music, the effect was just simply sublime. Little children strolling by with their mothers spontaneously broke into dance–whether making ´flores´ with their hands flamenco style, or swinging each other around by the arms. The look of delight on their faces as they approached the group and heard the music was unmistakenly touching and heartwarming.
On the way out after shopping, the group was still there playing something else, surrounded by a small crowd. I rushed past this time as I had decided to walk up to the Mirador San Nicolás and it was getting dark. I figured I could save a couple of euro, burn some calories and save some time by walking back, instead of waiting for the little red bus at Plaza Nueva, which was bound to be crowded at the end of the workday–no seats available!
Starting my ascent at the base of the Albaicín, I passed by store after store. Unfortunately, I was moving slowly since I was behind a couple carrying some type of fence up the hill. This was an amazing feat in itself considering the path was about 5 feet wide and teeming with people. The tiny stores overflowed with Moroccan items: lamps, prayer rugs, slippers and scarves, teas and other souvenirs. Teterías (tea houses) awaited tourists who were brave enough to taste strange food with their hands and smoke a hookah. The new stands, or sits, of women in traditional dress offering henna tatoos clogged the path too. They had replaced the ubiquitous male vendors who would sell a sign or card with your name written in Arabic.
Beyond this marketplace, a trio sat on the steps on a plaza and played some upbeat folk music. They had their CDs out for sale too. There was quite a large crowd listening and offering support. And 20 metres up the hill another guitarist sat on a ledge tuning…
Darkness set in as I trudged up La cuesta de María de la miel, my breaths heavy yet rhythmic. I had left my bedroom window open–perfect to hear the soothing flow of water from the fountain in the patio next door.
Two women, Inez Korff and Liliana Ruiz, in traditional black dresses dance the fiery flamenco. No music is even necessary because their feet beat the rhythm in a precise yet complex zapateo. Later, the guitar and drums, played by Blane and Donna Bostock, join in—their soulful and passionate sounds make a grand match with the dance, to bring out the duende, first theorized by Federico Garcia Lorca, Andalucía’s native son. The flamenco comes from Spain, specifically Andalucía, from the “Roma” people, los gitanos, or more universally known as “the gypsies.” In her new play, Azul, Tanaquil Márquez weaves flamenco dance, movement, Spanish music and multilingual spoken dialogue into a collage of Pablo Picasso’s life before he became famous. Azul, presented by La Fábrica at The Drake Theatre in Philadelphia, is also directed by Márquez, and the score is composed by Blane Bostock.
Márquez dives into the reason or motivation for Picasso’s “Blue Period,” hence the title, which means blue in Spanish. Azul is a play packed with the love affairs, friendships, and eccentricities of Picasso’s early life. His painting “La Vie” (the life), is the point of departure and also the cohesive element connecting the music, dance and the scenes. Two of the characters, Carles, Picasso’s best friend, and Germaine, a woman they were both involved with and who both tried to kill, are seen as subjects of the painting “La Vie” in Azul. Picasso’s blue period is characterized by an emotional despondency, triggered by the death of his best friend. In this phase of his life, his art was seen at the time by collectors as “depressing” and not “sellable” due to the subjects and the limited palette.
Azul is an ambitious and epic work, more than two hours long. It requires much attention from the viewer, since the characters speak Spanish, French and English. There is a poem recited in Catalan by Carles too. Picasso at least translates it into Spanish in the scene.Márquez (in her writing) and the cast handle the languages expertly—they flow naturally and effortlessly. As a fluent speaker of Spanish and English, and a former student of French, following the language shifts was not a problem for me, but I imagine for monolingual English speakers, especially those without much knowledge of Picasso’s life or work, it could be challenging. In that case, Azul would offer a completely different experience.
Nevertheless there is enough going on with the music, dance and movement to captivate even the monolingual audience member. Particularly strong are the scenes in the second act which incorporate dance, choreographed by Liliana Ruiz: when Picasso visits the woman’s prison and the bullfight/dance with Germaine. Both captured the respective moods and communicated the message without words.
Márquez also directs the extremely talented ensemble of performers. As Picasso, Zach Aguilar, is a very likeable protagonist, perhaps much more than Picasso himself and he delivers well in both Spanish and English. He has a commanding stage presence that reflects the charisma that Picasso probably had in real life. Paloma Irizarry as Odette, was a sweet and sympathetic lover, and she also displayed versatility as the other “positive” women in Pablo’s life, Nina, Conchita and Fernande. I was impressed by her natural quality in both French and Spanish.
As Germaine, Sol Madariaga was cruel and brazen. Madariaga excels as the villian, displaying a calm unfeeling exterior at times, and then bursting into a rage. She was the one who rejected Carles, and later engages in a dysfunctional and obsessive relationship with Picasso. Germaine was appropriately over the top, aggressive and irritating. She was the perfect contrast to Odette, and she was the menace loved and hated by Carles and Picasso. Germaine is depicted as a negative influence on both men, yet she appears as a subject of “La Vie.” As Carles Casagemas and Max Jacob, friends of Picasso, Cameron Del Grosso, shows tremendous acting range. Carles comes across as a fragile yet romantic and sincere artist, while Max is confident and much more in control. Inez Korff, Yajaira Paredes, Veronica Ponce de Leon Placencia and Liliana Ruiz round out the cast and deserve extra praise for dancing and playing both male and female characters convincingly. Dramatic and effective lighting was designed by Alyssandra Dochtery and costumes by David Reese Hutchison.
Azul is definitely a “must-see” for artists and lovers of Picasso’s art, if only to commiserate in the representation of his struggles. It provides background information about his life and his creative inspiration. It shows onstage the dilemma of “how do I sell my art and still be true to my own self/voice” that all artists face at one point or another. Flamenco aficionados will enjoy the dancing, and Spanish speakers will appreciate the opportunity to attend theatre in the language in Philadelphia.
Hopefully we will be seeing more of La Fábrica and of works by up and coming playwright, Tanaquil Marquéz. Azul plays through Sunday August 29 at the Drake Theatre in Philadelphia. For tickets: https://www.eventbrite.com/e/azul-tickets-35309378301
For more information about La Fábrica: https://www.facebook.com/LaFabricaTheater
To read a review about Azul in DCMetro Theater Arts: DC Metro Theater Arts
“Caliban Revisited,” a juried exhibition of contemporary Latin American art just opened on June 7 at Da Vinci Art Alliance in Philadelphia. 15 artists are represented in the show, hailing from 8 different countries: Abel Vázquez, Ada Trillo, Ana Vizcarra Rankin, Brandon Lopez, Carlos A. Gil, Daniel Villarreal, Danny Torres, Jacqueline Unanue, Lina Cedeno, Marilyn Rodriguez, Melva Medina, Paula Meninato, Pedro Zagitt, Pedro Ospina. Henry Bermudez, originally from Venezuela, judged the artwork, and first, second and third place prizes were awarded. Casa de Duende organized the exhibition, which is subtitled: Of Castaways, Explorers, Amazons, Cannibals and Monsters. A Mythological Reimagining of Latin America in the 21st Century.
I attended the opening at the gallery and was excited to see this diverse collection of works. The media include sculpture, watercolor, acrylic, glass, oil on glass, photography, mixed media, as well as works on paper. Most of the artists were at the opening, along with David Acosta of Casa de Duende and Henry Bermudez. Both spoke at bit about the artists and the selection process. Mr. Bermudez stated that since the quality of the art was so high, it was very difficult to select the three winners. The themes that he considered when choosing were 1) that the work was political and referenced Latin American heritage and culture and 2) that it be contemporary.
First place winner Brandon Lopez, entered a glass sculpture:
Second place winner, Paula Meninato, is originally from Argentina. She entered portraits from “Memorias Persistentes.” This is a series of portraits of disappeared people from the military dictatorship, which began with the 1976 coup d’etat in Argentina. The subject matter is definitely political and historical and the medium, oil on glass, is not traditional.
Third place winner Ada Trillo, presented works in gold leaf on wood panel! This one is called “Rebirth.”
My personal favorites included photos by Pedro Zagitt from his “El pagador de promessas” series, and watercolors by Abel Vazquez. Zagitt photographed a reenactment in the street by Mexicans in Norristown at St. Patrick’s Church. “Via Crucis”:
Abel Vazquez, is an artist working in Mexico and his watercolors are somewhat abstract but reference nature:
Vazquez’ wife, Melva Medina, also exhibited interesting works in graphite and charcoal in Caliban Revisited.
The DVAA art gallery, which is on 704 Catherine Street in the Bella Vista area, is an intimate space and the curators have made the most of it. The descriptions of each piece is written in both Spanish and English. Caliban Revisited can be viewed until June 25, 2017. On June 25th there will be a closing reception with performances from 3-5 pm!
Read my review about this exciting show and company at: http://dcmetrotheaterarts.com/2017/05/06/review-fronteras-door-desert-almanac-dance-circus-theatre-fringearts/
O público estava de pé. Algumas pessoas estavam dançando e cantando. Todo o mundo irradiava entusiasmo. O grupo de dança terminou seu concerto com um convite para o público: “Levantem-se! Dancem e cantem conosco!”. Eu lembrei de algumas palavras das canções familiares que tinha escutado no Brasil e cantado com eles. A energia do Balé Folclórico da Bahia era contagiosa — como não cantar, como não se mexer? Centenas de estadunidenses se comportavam como se assistissem a um concerto de rock e não a um espetáculo de dança! Mas tudo isso reflete a cultura brasileira.
O Brasil é conhecido por seu soft power. A cultura brasileira chega aqui nos Estados Unidos em forma de dança, de canção, de música, de cinema, de futebol. Com certeza, o Brasil tem muitos destaques nas artes plásticas importantes mundialmente, e no teatro e na literatura também. Sem falar da culinária e das telenovelas. Porém, são as expressões artísticas por meio da música que deslumbram o maior número de estrangeiros. Sendo a música uma “linguagem” universal, pouco importava que 75% (ou mais) das pessoas que assistiram ao concerto não compreendessem o português, e nem tivessem pisado no Brasil. A música as levou para o país na sua imaginação naquele momento.
Acho que são a qualidade e a variedade das músicas brasileiras (e para falar na música portuguesa, também o fado) e a sua singularidade que fazem que seja tão natural, tão orgânico, incluir a música nas aulas de Língua Portuguesa. Mesmo numa aula de iniciantes de Português, pode-se usar uma canção para mostrar pronúncia, ou para cultivar os ouvidos do aluno aos sons do Português. Dá para mostrar um vídeo de dança ou até ensinar movimentos de dança aos alunos que não conseguem falar muito, para uma lição de cultura. Com uma turma mais avançada, obviamente temos um sem fim de oportunidades para introduzir a música na sua aprendizagem. Uma das atividades que gostava muito era comparar a música nos filmes, Orfeu e Orfeu negro, com as da obra de teatro original Orfeu de Conceição de Vinicius de Moraes. Os alunos de Português são apresentados a grandes músicos e poetas brasileiros e, assim, aprendem melhor o vocabulário e mais palavras, analisam filmes, poesias e estrutura das canções. Sobretudo, podem ver como a música, e não somente as palavras faladas, tem a ver com a emoção e a expressão dos personagens nas versões brasileiras do mito grego de Orfeu.
Quando eu ensino sobre o Nordeste, sempre mostro vídeos das diferentes danças e suas respectivas músicas: forró, frevo, xaxado, etc. É uma cultura muito diferente do Sul e do Sudeste do país. Quando eles veem o xaxado, em recentes registros do Youtube, e como a representação do cangaço (especialmente Lampião e Maria Bonita) continua viva, eles compreendem e sentem que eram figuras históricas essenciais nessa cultura regional.
Uma das minhas atividades preferidas com música é explicar a literatura de cordel e o repente. Uso a canção “O que é a literatura de cordel” de Francisco Diniz. Essa canção explica a literatura de cordel numa canção estilo forró. Os alunos fazem sua própria literatura de cordel em grupos como projeto final. Durante a preparação, falamos sobre a história do cordel comparando com meios de comunicação modernos. Assistimos a vídeos sobre o cordel e o repente. Também , antes de escrever e recitar seus poemas, os alunos praticam e recitam poesias famosas e simples como repentistas, com pandeiros plásticos. Fazem modificações no tom de voz e na projeção dela com essas obras para sentirem-se mais confortáveis com o ritmo e usarem suas vozes. Assim, o aluno melhora seu conhecimento da cultura, sua capacidade de usar a língua portuguesa ao escutar e fazer a música ele mesmo.
Sou artista, então para mim, as artes são imprescindíveis para entender o Brasil, Portugal ou qualquer cultura. Aliás, as artes em seus muitos gêneros, às vezes, representam e manifestam os pensamentos de um povo e não somente ideias de indivíduos. Também surgem em resposta à turbulência política. Eu sei que muitos colegas gostam de tocar canções de MPB (Musica Popular Brasileira) especialmente Bossa Nova e músicas da Tropicália. Uma canção forte como Cálice, de Chico Buarque, dá arrepios em si por causa de seu arranjo e o significado da letra. Mas explorar a história da apresentação mostra como a censura da ditadura militar que começou em 1964 operava – cortaram o som quando ele e Gilberto Gil iam tocar a canção em Festival Phono 73, em São Paulo. No caso de Portugal, os alunos escutam Grandola, Vila Morena, quando aprendem sobre a Revolução dos Cravos, comemorada no dia 25 de abril.
Emprego a vida e a música da maestrina Francisca “Chiquinha” Gonzaga, para ensinar língua e História brasileira. A compositora nasceu em 1847, quando o Brasil era ainda monarquia e mantinha a escravidão. Morreu em 1935. Ela viveu num período no qual ocorreram importantes movimentos históricos no Brasil, como a Guerra do Paraguai, a abolição da escravatura, a Revolta do Vintém, a queda da monarquia, o início da república, o governo Getúlio Vargas…sem falar de sua própria história pessoal, riquíssima em acontecimentos, como a publicação de suas partituras, obras de teatros e sua intensa vida boêmia. Os alunos leem uma biografia juvenil dela, veem partes da minissérie, participam de um têm um sarau, e fazem outras atividades relacionadas à história e à música dela.
Acho que podemos transmitir uma parte da cultura lusófona a nossos alunos na sala de aula. Com certeza, essa experiência na aula de Português não equivale ficar num país lusófono e experimentar a vida e a cultura diretamente. Porém, às vezes nossos alunos não têm essa oportunidade, ou a aula é seu primeiro encontro com a cultura e a língua. Devemos fazer com que eles apreciem e sintam essa cultura, que ouçam nos ouvidos e no coração a música desses países. Assim, é uma maneira de comunicar — e daí a importância de nosso trabalho.