There is no translation available.

This video documents an evening of music and dance by contemporary Native American and African American performers, presented at the Francisco Nunes theater in Belo Horizonte, Brazil, as a part of the 5th Encuentro of the Hemispheric Institute of Performance and Politics, titled Performing Heritage: Contemporary Indigenous and Community-Based Practices. This performance brings together four contemporary American performances drawing from the artists' cultural roots: Quetzal Guerrero (Native American violinist and dancer), Larry Yazzie (Meskwaki/ Dine World Champion Fancy Dancer), David Pleasant (African-American Gullah/Geeche percussion and song, performing with dancer Joyah Pugh), and Dancing Earth (Indigenous Modern Dance collective directed by Rulan Tangen, with the participation of Quetzal Guerrero, Anthony Thosh Collins and Alejandro Meraz). Quetzal Guerrero and Thosh Collins open the evening with a traditional chant from the Salt River Pima-Maricopa indian community, followed by Quetzal's original solo violin piece. Larry Yazzie then performs his dazzling powwow Fancy Dance from Tama, Iowa, followed by the energetic and powerful percussion of African American David Pleasant, who draws on rhythms dating back to slavery in the United States. Dancing Earth performs a dance piece about the creation of the earth, and the evening ends with all performers bringing together their traditions--and the audience--on stage. There is also a post-performance discussion with the artists, in which they talk about the origins and meanings of their performances.

Dancing Earth performance begins at the 00:30:20 mark.

Jueves, 08 Julio 2010 16:26

Entrevista a Pamyua (2005)

En esta entrevista, llevada a cabo por Andrew McLean durante el 5to Encuentro del Instituto Hemisférico (Belo Horizonte, 2005), los cuatro miembros fundadores de Pamyua (Stephen Blanchett, Phillip Blanchett, Ossie Kairaiuak y Karina Moeller) hablan de sus orígenes, del surgimiento de la banda y de las formas en las que su música combina canciones tradicionales Yup'ik con influencias musicales afroamericanas como el gospel, el R&B, el jazz y el funk para crear un nuevo estilo Yup'ik único. Hablan de sus experiencias como indígenas urbanos y de su relación con sus raíces -- una relación que, para ellos, ha significado un proceso delicado de negociación cultural entre diferentes tradiciones y generaciones. Entre otras cosas, discuten la forma en que los ancianos Yup'ik los ven, qué problemas enfrentan sus comunidades y cómo han llegado a constituirse en portadores de una nueva cultura para revitalizar la identidad Yup'ik entre los jóvenes.

There is no translation available.

Mélange of music and dance by contemporary Native American and African American performers, presented at the Francisco Nunes theater in Belo Horizonte, Brazil, as a part of the 5th Encuentro of the Hemispheric Institute of Performance and Politics, titled Performing Heritage: Contemporary Indigenous and Community-Based Practices. This performance brings together four contemporary American performances drawing from the artists' cultural roots: Quetzal Guerrero (Native American violinist and dancer), Larry Yazzie (Meskwaki/ Dine World Champion Fancy Dancer), David Pleasant (African-American Gullah/Geeche percussion and song, performing with dancer Joyah Pugh), and Dancing Earth (Indigenous Modern Dance collective directed by Rulan Tangen, with the participation of Quetzal Guerrero, Anthony Thosh Collins and Alejandro Meraz). Quetzal Guerrero and Thosh Collins open the evening with a traditional chant from the Salt River Pima-Maricopa indian community, followed by Quetzal's original solo violin piece. Larry Yazzie then performs his dazzling powwow Fancy Dance from Tama, Iowa, followed by the energetic and powerful percussion of African American David Pleasant, who draws on rhythms dating back to slavery in the United States. Dancing Earth performs a dance piece about the creation of the earth, and the evening ends with all performers bringing together their traditions--and the audience--on stage. There is also a post-performance discussion with the artists, in which they talk about the origins and meanings of their performances.

There is no translation available.

Luisa Calcumil's 1987 solo show, Es bueno mirarse en la propia sombra is a plea for the preservation of Mapuche indigenous culture in the face of the homogenizing forces of globalization. 

The play opens with Calcumil's voice in the dark, introducing herself in the Mapuche language as 'a person of the earth.' We then see her as a grandmother singing in Mapuche and being killed by white invaders who destroy indigenous land and build nuclear dumps. Next is the story of Julia and her mother: in dire financial straits, Julia's mother is forced to send Julia to work in the city as a maid. After many years, she goes back for her, only to find out she?s left her job and given birth to a boy. Calcumil then transforms into Julia, dancing to pop music, wearing flashy clothes. Julia constantly tells herself, 'You're so beautiful, Julia!' 'Why think?' 'Your skin is whiter!' She wants to forget she was raped, forget where she came from, forget she is Mapuche. But even as she calls herself Julie and gets a Western education, her dead grandmother appears in her dreams singing traditional songs, relentlessly reminding her that she can't deny her roots.

This video documents Calcumil's performance at the Teatro da Cidade in Belo Horizonte, Brazil, as a part of the 5th Encuentro of the Hemispheric Institute of Performance and Politics, titled Performing Heritage: Contemporary Indigenous and Community-Based Practices

There is no translation available.

Coatlicue Theater Company produced a three-minute video demonstrating their storytelling/playwriting/theater workshops. Included in the footage are clips from a workshop held in Chiapas, Mexico. The companys workshops are divided into three parts. The first part is aimed at getting participants to open up to one another to begin to work collectively. Its devoted to exercising the body through sounds and movement to stimulate the imagination and awaken the body, mind, and spirit. The second part is designed to teach storytelling and involves exercises that develop trust, listening, and communication skills. Here the Colorado sisters demonstrate the different ways to tell a story, how to work together to tell a story, and listening to others tell a story. Participants are then taught how to incorporate their earlier exercises into the storytelling process and work on developing a theater piece.

There is no translation available.

Elvira and Hortencia Colorado, Chichimec Otomi storytellers, playwrights, performers and community activists are founding members of the Coatlicue Theatre Company. Based in New York City, they are also members of danza Mexica Cetiliztli, New York Zapatistas and the American Indian Community House. 'Caracol, Corazón de la Tierra, Flor de la Esperanza' was created after the Colorado sisters lived and worked with communities in five autonomous municipalities in Chiapas, México. Their text is weaved from the voices of the Zapatista indigenous women they encountered. It is a collage of their thoughts, stories and music: the fire of their resistance, struggle and hope for a better future. This play was performed at the Francisco Nunes theater in Belo Horizonte, Brazil, as a part of the 5th Encuentro of the Hemispheric Institute of Performance and Politics, titled Performing Heritage: Contemporary Indigenous and Community-Based Practices.

Published in Coatlicue: Trabajos
Martes, 29 Junio 2010 16:56

Holding Up the Sky Excerpts (2006)

There is no translation available.

Holding Up the Sky is a series of theater skits addressing issues of borders and immigration at work in indigenous communities, ranging from the grotesque to the poignant, from the deeply personal to global issues devastating their communities. Distinctive elements of this performance are the use of humor in storytelling and the participation of audience members to 'hold up the sky' as inspired by Mayan mythology. Muriel Miguel (Spiderwoman Theater) contextualizes this event by talking about Coatlicue's long relationship with the American Indian Community House (www.aich.org), and the fact that this Indian Summer is the last series of performances at The Circle in the AICH's current location.

Published in Coatlicue: Trabajos

Entrevista a Elvira y Hortencia Colorado, de Coatlicue Theater Company, llevada a cabo por Diana Taylor durante el cuarto Encuentro del Instituto Hemisférico de Performance y Política, celebrado en julio de 2003 en Nueva York, Estados Unidos bajo el título “Espectáculos de Religiosidad.” Elvira y Hortencia Colorado, narradoras , dramaturgas , artistas y activistas comunitarias chichimecas otomíes son miembros fundadores de Coatlicue Theater Company. También son miembros de Danza Mexica Cetiliztli, New York Zapatistas y de American Indian Community House. Las obras de teatro de la compañía abordan problemas sociales, políticos, culturales y de identidad que afectan a sus vidas y a sus comunidades. Su trabajo está basado en historias que tejen juntas, historias que a la vez educan y entretienen, mientras reafirman su supervivencia como mujeres indioamericanas urbanas. Han llevado a cabo talleres sobre narración y teatro y han recibido el Premio Activismo Comunitario Ingrid Washinawatok.

Published in Coatlicue: Entrevistas
Martes, 29 Junio 2010 15:46

Pamyua in Concert (2005)

There is no translation available.

Arctic's (from Alaska and Greenland) performance group Pamyua reinterprets modern traditions of the Inuit and Yup'ik Eskimo through storytelling, music and dance. Pamyua performs Yup'ik danced stories that portray the traditions of the Yup'ik culture in Southwestern Alaska. The quartet also harmonizes ancient and original music that redefine the boundaries of Inuit expression. Pamyua's mixes R&B, jazz, funk, and world music to create a unique new native style. The performances are very dynamic, ranging from traditional dances to Tribalfunk dances—worldmusic.


Additional Links

Pamyua in Concert (2005)
Interview with Pamyua (2005)
Pamyua on 2005 Hemispheric Institute Encuentro Website

Miércoles, 28 Octubre 2009 20:21

Big Mother: El Gran Desmadre (2002)

En este performance cabaret de tipo farsa, las "Cuatro Jinetes del Apócalipsis" ejecutan una Guerra de la humanidad en contra de la naturaleza, en una reflexión metafísica sobre el terrorismo, la vigilancia y la sociedad del espectáculo. Después de los ataques a Nueva York en el 11 de septiembre, "una esperanza de guerra" es revivida, en combinación con la inminente y "esperada aniquilación de la naturaleza". Un grupo de mujeres se voluntarean para ser encerradas en las oficinas centrales de una Mega Corporación ("producto de la fusión global y el mercado de la perfecta auto competición"), en un programa tipo "televisión real" (reality tv), donde se yuxtaponen debates metafísicos con concursos de belleza, limbos burocráticos y últimas cenas teatralizadas. "Alcance su metafísica 2002" es un concurso de belleza donde las Cuatro Jinetes -representando al Hambre, la Epidemia, la Guerra y la Muerte- se enfrentan a cuestionamientos filosóficos tales como: ¿qué es el conocimiento? ¿La voluntad? ¿La Conciencia? ¿La fe en la especie humana? Etc. Las concursantes se convierten luego en secretarias de oficina de gobierno donde, entre chisme y vagancia, pretenden terminar sus reportes para Mega sobre cómo sus Ministerios (de Abundancia, Paz, Verdad y Amor) han contribuido a las metas y logros de la corporación en su afán por "destruir agraciadamente" a la naturaleza y la humanidad. Las mujeres luego se convierten en versiones satíricas de los personajes dramáticos de "La Casa de Bernarda Alba" (escrita por Federico García Lorca), y llevan a cabo una cena en donde las hijas de Bernarda insisten en que ella les diga "La Verdad". Bernarda confiesa que ella es La Madre Naturaleza, la Gran Madre, quien creó a sus descendientes a imagen y semejanza de ella. Este caleidoscópico juego de miradas es multiplicado en un vortex de vigilancia donde la Gran Madre (Big Mother) hace eco de el Gran Padre (Big Brother), refieriéndose a tanto a la novela distópica de George Orwell "1984" y al programa de televisión "reality tv" del mismo nombre en México. Agravadas "metafísicamente", las Jinetes asesinan a la Madre Naturaleza y, al quedarse con un planeta totalmente destruido, se embarcan a una "cruzada en contra del terrorismo extraterrestre".

Fragmentos del video performance utilizado para la pieza "Big Mother: El Gran Desmadre". Se incluye en el mismo: fragmentos de un noticiero reportando los ataques del World Trade Center en la ciudad de Nueva York; un anuncio promocional de Mega Corporación ("un producto de la fusión global del mercado y la perfecta autocompetencia") en su "cruzada en contra del terrorismo"; fragmentos de tres telenovelas mexicanas; fragmentos de un comercial de promoción con un conocido actor mexicano; un aviso de noticiero sobre las cámaras de vigilancia "Big Mother" (instaladas para observar la población mexicana, en búsqueda de posibles terroristas en contra de la soberanía del estado); y un pietaje de las "Hijas de Bernarda Alba" en una tierra desierta, ondeando la bandera mexicana. Todos estos fragmentos de pietaje complementan la reflexión metafísica que emplea el programa, acerca del terrorismo, la vigilancia y la sociedad del espectáculo, en una especie de espectáculo de "televisión real" ("reality tv") donde se yuxtaponen debates metafísicos con concursos de belleza, limbos burocráticos y últimas cenas teatralizadas, en búsqueda de "La Verdad" mientras se le declara la guerra a la Naturaleza y la Humanidad.

 


Selección de videos

Big mother: el gran desmadre
Big mother: el gran desmadre (Video para espectáculo)

Published in El Hábito: Trabajos
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