DOCSLIB.ORG

TÍTERES EN PUERTO RICO, UNA PERPETUA Y ACOMPASADA EVOLUCIÓN Indice SEPTIEMBRE - DICIEMBRE / 2018

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TÍTERES EN PUERTO RICO, UNA PERPETUA Y ACOMPASADA EVOLUCIÓN Indice SEPTIEMBRE - DICIEMBRE / 2018 la hoja del titiritero / SEPTIEMBRE - DICIEMBRE / 2018 1 BOLETÍN ELECTRÓNICO DE LA COMISIÓN UNIMA 3 AMÉRICAS TERCERA ÉPOCA SEPTIEMBRE - DICIEMBRE03 / 2018 TÍTERES EN PUERTO RICO, UNA PERPETUA Y ACOMPASADA EVOLUCIÓN indIce SEPTIEMBRE - DICIEMBRE / 2018 ENCABEZADO DE BUENA FUENTE: 03 · Pinceladas puertorriqueñas Influencias de otros lares en la isla Dr. Manuel Antonio Morán 25 · Kamishibai-Puerto Rico Tere Marichal l boletín electrónico La Hoja LETRA CAPITAL del Titiritero, de la Comisión 04 · Las voces titiriteras de Suramérica Personalidades y agrupaciones del Unima 3 Américas, sale teatro de figuras en Puerto Rico con frecuencia cuatrienal, EN GRAN FORMATO · El Mundo de los Muñecos: con cierre los días 15 de · Breve panorama del teatro de títeres 28 40 años de alegría Eabril, agosto y diciembre. Las 07 en Puerto Rico 30 · Un titiritero llamado Mario Donate normas editoriales, teniendo en Dr. Manuel Antonio Morán cuenta el formato de boletín, son De festivales y publicaciones titiriteras de una hoja para las noticias e CUADRO DE TEXTOS en Puerto Rico informaciones, dos hojas para las entrevistas y tres hojas para los · Las huellas de la tempestad en el · Sobre la mesa. Una asignación (Acerca 11 31 artículos de fondo, investigaciones Corazón de Papel de Agua, Sol y Sereno del fenómeno de títeres para adultos en o reseñas críticas. De ser posible Cristina Vives Rodríguez Puerto Rico). Deborah Hunt acompañar los materiales con · Y No Había Luz antes 33 · La Titeretada: un festival independiente 14 imágenes. y después de María 34 · Otros festivales titiriteros · Papel Machete: el teatro de títeres y la · Algunas publicaciones de títeres en 16 Director lucha popular en Puerto Rico Puerto Rico Dr. Manuel A. Morán Agustín Muñoz Ríos Otras compañías titiriteras Editor Dentro y fuera: titiriteros de Puerto Rico Rubén Darío Salazar puertorriqueños en la diáspora 36 · Directorio 18 · Títeres en el Caribe Hispano: la patria Redactores regional en tres documentales Yudd Favier Rubén Darío Salazar María Laura Germán 20 · Before Icarus Fell, el sueño titiritero de Toni Chiroldes Diseño Abdel de la Campa Escaig PÁGINAS REVELADAS 22 · Los mundos interiores de Deborah Hunt Editor invitado (Testimonios de una maestra titiritera) Manuel A. Morán Rubén Darío Salazar encabezado la hoja del titiritero / SEPTIEMBRE - DICIEMBRE / 2018 3 Maldonado fue algo muy especial para todos los que allí nos dimos cita. Los presidentes o representantes oficiales de 9 Centros PINCELADAS Nacionales de UNIMA en Sudamérica acudieron al encuentro: Argentina, Bolivia, Brasil, Chile, Colombia, Ecuador, Perú, Uruguay y Venezuela. Idoya Otegui, nuestra Secretaria General, viajó PUERTORRIQUEÑAS desde España para estar con nosotros en esta ¡Les saludo a todos desde el norte, en medio reunión, de donde todos salimos fortalecidos, de un hermoso y frío otoño! Espero que esta unificados y con muchos planes para seguir temporada haya sido positiva, con mucho consolidando el arte de los títeres en Las trabajo. Para mí ha sido fructífera, llena de viajes, Américas. En este dossier encontrarán un encuentros, estrenos, nuevas producciones y más. artículo detallado sobre lo que sucedió allí y lo Esta nueva edición de La Hoja del Titiritero está que se acordó. dedicada a mi hermosa “Isla del Encanto,” mi Les recuerdo que #UNIMAsomostodos y Puerto Rico querido. Los que me conocen saben nos encanta recibir preguntas, opiniones y del amor que tengo por mi país. Compartir con sugerencias. Para ello escríbannos a: ustedes a través de este medio, un panorama del [email protected] teatro de títeres puertorriqueño, junto a la voz Pueden igualmente suscribirse a nuestra y el trabajo de mis compatriotas es una alegría página en Facebook: unima3americas. inmensa. Espero que a través de estas “pinceladas Espero que disfruten de esta nueva edición, puertorriqueñas” puedan conocer un poco más tanto como nosotros disfrutamos hacerla. ¡Les de mi tierra y de su actividad titeril. deseo a todos felices fiestas y un próspero El pasado mes de octubre, mi hijo y yo nos año nuevo lleno de mucha salud, paz, amor y embarcamos en un largo viaje a Uruguay, fuimos títeres! a encontrarnos con nuestros amigos y colegas de UNIMA en Sudamérica. Este evento, gestionado con mucho éxito por Gustavo “Tato” Martínez, nuestro vicepresidente regional para la América Dr. Manuel A. Morán del Sur, y su compañera Raquel, fue un momento Presidente, Comisión Tres Américas histórico para nuestra organización. Era la primera vez, desde que la UNIMA existe, que los presidentes de centros nacionales sudamericanos se reúnen. Hacerlo en el marco de Montevideo y letra capital la hoja del titiritero / SEPTIEMBRE - DICIEMBRE / 2018 4 Las voces titiriteras de Suramérica Fotos del Encuentro el 1ro al 4 de octubre se llevó a cabo en las ciudades de representación de Bolivia (Grober Loredo) y Uruguay, país Suramericano de la Comisión Montevideo y Maldonado, en Uruguay, el Encuentro anfitrión que tuvo como invitados a Raquel Ditchekenian, Unima 3 Américas en las ciudades de Montevideo y DSuramericano de la Comisión Unima 3 Américas. Gabriela Recto, Jandi Gaetano y Daniel Rodríguez, la presencia Maldonado, en Uruguay. Directivos de los centros nacionales de Chile (Patricia Araya, del chileno Antonio Fernández Rivas y los miembros de presidenta), Argentina (Sergio Rower, presidente), Brasil (Dico UNIMA Internacional y de la Comisión Unima 3 Américas, en Ferreira, presidente), Colombia (Sergio Murillo, vicepresidente), las personas de Idoya Otegui (España) secretaria general de Venezuela (José Ramón Fernández, presidente), Ecuador UNIMA Internacional, el Dr. Manuel Morán (USA/Puerto Rico) (Ana Mariza, presidenta), Perú (Felipe Rivas, presidente), la vicepresidente de UNIMA Internacional y presidente de la letra capital la hoja del titiritero / SEPTIEMBRE - DICIEMBRE / 2018 5 Comisión Unima 3 Américas, junto a Gustavo “Tato” Martínez colaborativa Títeres y Titiriteros de Nuestra América, ambas (Uruguay) vicepresidente de la región sudamericana en la acciones sustentadas por miembros de la comisión Unima 3 Comisión UNIMA 3 Américas y coordinador principal del evento, Américas en sus dos años de existencia, entre otras opciones. con la suma de otras instituciones culturales y gubernamentales del hermano país del sur. La alegría, el diálogo franco y sustancioso, más el atractivo programa cultural del Festival Internacional de Títeres uruguayo, marcaron los días del necesario y esperado encuentro. Entre los temas de la agenda estuvieron la exposición del trabajo desarrollado en los centros Entre los proyectos del encuentro concebidos para la región, nacionales y representaciones de surgieron varios de carácter pedagógico que liderarán Ecuador los países invitados y sus problemas y Colombia. Venezuela guiará uno de video conferencias cruciales, informaciones detalladas temáticas con múltiples utilizaciones, al que se sumarán otras respecto a las funciones de Unima propuestas de los diferentes centros nacionales de Unima en la en el mundo y sus proyectos, la región sureña. No quedarán detrás las exposiciones, muestras, creación de comisiones y grupos de espectáculos, intercambios entre los centros nacionales trabajo, más las propuestas y planes y publicaciones sobre los títeres latinoamericanos, todas internacionales y regionales que excelentes oportunidades de promoción y conocimiento del ayudarán a optimizar las acciones de arte titiritero en esta parte del planeta. la organización titiritera en la zona. Los integrantes del comité ejecutivo de Unima Internacional Varios recursos de Unima aportaron información sobre las diferentes ideas de enlaces Internacional, destinados a los integrantes de los centros nacionales fueron dados a conocer. El acceso a noticias y publicaciones de actualidad que ofrece el sitio web de la organización (www.unima. org), la cual puede servir como plataforma de promoción para la labor desarrollada por los centros nacionales, a través del contacto con el webmaster Cedric de Mondenard (web@unima. org). La utilización de la Enciclopedia Mundial de la Marioneta (Wepa), de las becas de formación, de asistencia a los festivales, mediante el contacto con las correspondientes comisiones, la red de asociados que bajo el nombre de Bed & Puppet ofrecen hospedaje a los titiriteros, así como los soportes informativos e interactivos que proponen tanto el boletín electrónico La hoja del titiritero, con salida cuatrimestral, como la nueva web letra capital la hoja del titiritero / SEPTIEMBRE - DICIEMBRE / 2018 6 entre colegas que ha generado la celebración de los 90 años de que desconocen las disimiles opciones de Unima, propusieron la organización titiritera más añeja del mundo. Se presentaron los colegas de Chile y Uruguay, entre otros proyectos fílmicos de las diversas posibilidades que plantea a los miembros y no salvaguarda patrimonial. miembros de Unima la web colaborativa Títeres y Titiriteros La creación de la Comisión Regional de Educación, Desarrollo de Nuestra América, un añorado proyecto coordinado por y Terapia, fue un alto punto de conjunción de voluntades en Gustavo “Tato” Martínez con la colaboración del Museo Vivo el encuentro suramericano, que dijo adiós con la esperanza del Títere en Uruguay y otras instituciones. Otras acciones de de que la experiencia se repita, pero sobre todo de que lo solidaridad, activismo, el uso del poder de los audiovisuales en planteado y proyectado halle cuerpo y se haga inmediata la búsqueda de nuevos miembros, profesionales y aficionados, realidad en función de todos. EN GRAN
Load more

Recommended publications
  • Marlboro College
    Potash Hill Marlboro College | Spring 2020 POTASH HILL ABOUT MARLBORO COLLEGE Published twice every year, Marlboro College provides independent thinkers with exceptional Potash Hill shares highlights of what Marlboro College community opportunities to broaden their intellectual horizons, benefit from members, in both undergraduate a small and close-knit learning community, establish a strong and graduate programs, are doing, foundation for personal and career fulfillment, and make a positive creating, and thinking. The publication difference in the world. At our campus in the town of Marlboro, is named after the hill in Marlboro, Vermont, where the college was Vermont, students engage in deep exploration of their interests— founded in 1946. “Potash,” or potassium and discover new avenues for using their skills to improve their carbonate, was a locally important lives and benefit others—in an atmosphere that emphasizes industry in the 18th and 19th centuries, critical and creative thinking, independence, an egalitarian spirit, obtained by leaching wood ash and evaporating the result in large iron and community. pots. Students and faculty at Marlboro no longer make potash, but they are very industrious in their own way, as this publication amply demonstrates. Photo by Emily Weatherill ’21 EDITOR: Philip Johansson ALUMNI DIRECTOR: Maia Segura ’91 CLEAR WRITING STAFF PHOTOGRAPHERS: To Burn Through Where You Are Not Yet BY SOPHIE CABOT BLACK ‘80 Emily Weatherill ’21 and Clement Goodman ’22 Those who take on risk are not those Click above the dial, the deal STAFF WRITER: Sativa Leonard ’23 Who bear it. The sign said to profit Downriver is how you will get paid, DESIGN: Falyn Arakelian Potash Hill welcomes letters to the As they do, trade around the one Later, further.
    [Show full text]
  • Manga Book Club Handbook
    MANGA BOOK CLUB HANDBOOK Starting and making the most of book clubs for manga! STAFF COMIC Director’sBOOK LEGAL Note Charles Brownstein, Executive Director DEFENSE FUND Alex Cox, Deputy Director Everything is changing in 2016, yet the familiar challenges of the past continueBetsy to Gomez, Editorial Director reverberate with great force. This isn’t just true in the broader world, but in comics,Maren Williams, Contributing Editor Comic Book Legal Defense Fund is a non-profit organization Caitlin McCabe, Contributing Editor too. While the boundaries defining representation and content in free expression are protectingexpanding, wethe continue freedom to see to biasedread comics!or outmoded Our viewpoints work protects stifling those advances.Robert Corn-Revere, Legal Counsel readers, creators, librarians, retailers, publishers, and educa- STAFF As you’ll see in this issue of CBLDF Defender, we are working on both ends of the Charles Brownstein, Executive Director torsspectrum who byface providing the threat vital educationof censorship. about the We people monitor whose worklegislation expanded free exBOARD- Alex OF Cox, DIRECTORS Deputy Director pression while simultaneously fighting all attempts to censor creative work in comics.Larry Marder,Betsy Gomez, President Editorial Director and challenge laws that would limit the First Amendment. Maren Williams, Contributing Editor In this issue, we work the former end of the spectrum with a pair of articles spotlightMilton- Griepp, Vice President We create resources that promote understanding of com- Jeff Abraham,Caitlin McCabe,Treasurer Contributing Editor ing the pioneers who advanced diverse content. On page 10, “Profiles in Black Cartoon- Dale Cendali,Robert SecretaryCorn-Revere, Legal Counsel icsing” and introduces the rights you toour some community of the cartoonists is guaranteed.
    [Show full text]
  • Developing Kamishibai (Japanese Card-Story) Media in Teaching Speaking
    4rd English Language and Literature International Conference (ELLiC) Electronic ISSN: 2579-7263 Proceedings – (ELLiC Proceedings Vol. 4, 2021) CD-ROM ISSN: 2579-7549 DEVELOPING KAMISHIBAI (JAPANESE CARD-STORY) MEDIA IN TEACHING SPEAKING Yuli Puji Astutik1, Riski Mulyana2 STIT Muhammadiyah Tanjung Redeb Indonesia [email protected], [email protected] Abstract This study aims at developing and testing the feasibility of Kamishibai media as a learning medium by modifying a story adapted from Berau Folklore East Kalimantan. The research method used in this research was Research and Development (R&D) by adapting ADDIE Model of development which covered several steps namely: Analysis, Design, Development, Implementation, and Evaluation. The result of this research was a learning media namely Kamishibai by modifying it with the story of Berau folklore East Kalimantan. Based on the result of media experts’ validation, it showed that the response was 100%, while the result of material and language quality was 93%. It can be summarized that the developed media can be categorized as “Decent” or suitable to be used as a learning media. Meanwhile, the result of students’ responses towards the media developed was 81.13%. it can be considered positive of the media of Kamishibai (Japanese-Card Story) was feasible and suitable to be applicated as the learning media in speaking. Keywords: Research & Development (R&D), Kamishibai Media, ADDIE Model Introduction Language is considered vital for human learning English as a foreign language, communication. It is a crucial element of people can engage in international education which can be used as a tool in commerce, advance in their studies, and expressing ideas, thoughts, feelings and participate in scientific activities.
    [Show full text]
  • Kamishibai, What Is It? Some Preliminary Findings
    1 KAMISHIBAI, WHAT IS IT? SOME PRELIMINARY FINDINGS Jeffrey A. Dym From January to May 2007, I spent time researching the history of kamishibai in Japan. Prior to leaving, when my colleagues asked me what I was researching, I would reply kamishibai. Of course, they had no idea what I was talking about. When you tell someone in Japan you are studying kamishibai, they might look at you with a puzzled look, wondering why you are studying that and not something more practical and business oriented but at least they know what you are talking about. For most Americans, the subject is completely arcane. The usual translation of kamishibai is “paper plays.” But I found that telling my colleagues that I was studying paper plays really didn’t clarify things. It often conjured up for them an image of Indonesian puppet theater. Instead, I usually resorted to telling them that I was studying a type of street performance that was popular in Japan during the 1930s and 1950s. Indeed, it is possible to offer a fairly straightforward description of kamishibai. Kamishibai, in a format similar to the ones presented on Kamishibai for Kids, first appeared in 1930 in Tokyo and quickly became one of the most popular forms of mass entertainment in the major cities of Japan. Kamishibai is designed so that virtually anyone can perform it. Though the first kamishibai didn’t have words on the back, within a few years of its debut words were added to the back of the pictures so that anyone could perform it.
    [Show full text]
  • Stories and Storytelling - Added Value in Cultural Tourism
    Stories and storytelling - added value in cultural tourism Introduction It is in the nature of tourism to integrate the natural, cultural and human environment, and in addition to acknowledging traditional elements, tourism needs to promote identity, culture and interests of local communities – this ought to be in the very spotlight of tourism related strategy. Tourism should rely on various possibilities of local economy, and it should be integrated into local economy structure so that various options in tourism should contribute to the quality of people's lives, and in regards to socio-cultural identity it ought to have a positive effect. Proper treatment of identity and tradition surely strengthen the ability to cope with the challenges of world economic growth and globalisation. In any case, being what you are means being part of others at the same time. We enrich others by what we bring with us from our homes. (Vlahović 2006:310) Therefore it is a necessity to develop the sense of culture as a foundation of common identity and recognisability to the outer world, and as a meeting place of differences. Subsequently, it is precisely the creative imagination as a creative code of traditional heritage through intertwinement and space of flow, which can be achieved solely in a positive surrounding, that presents the added value in tourism. Only in a happy environment can we create sustainable tourism with the help of creative energy which will set in motion our personal aspirations, spread inspiration and awake awareness with the strength of imagination. Change is possible only if it springs from individual consciousness – „We need a new way to be happy” (Laszlo, 2009.).
    [Show full text]
  • Kamishibai: an Intangible Cultural Heritage of Japanese Culture and Its Application in Infant Education
    KÉPZÉS ÉS GYAKORLAT • 2017. 15. ÉVFOLYAM 1−2. SZÁM. DOI: 10.17165/TP.2017.1-2.2 ANA MARQUÉS IBÁÑEZ1 Kamishibai: An intangible cultural heritage of Japanese culture and its application in Infant Education In the field of art education, it is imperative to use new and innovative methods to study visual culture, and to adopt multicultural and intercultural approaches to interpret art in different cultures. It is interesting to study the way in which the intertextual method (the interrelationship between texts, whether written, oral, past or present; the implicit or explicit connection between a set of texts forming a context which conditions the understanding and development of the discourse) can be employed to interpret art from a western or eastern perspective. The kamishibai art form should be integrated into pre-school and elementary school curricula to promote reading. This proposal goes beyond simply understanding a text with images. The focus is on how a text can be performed theatrically and involve the participation and interaction of children as protagonists in the process. We start by introducing the concept of kamishibai, including its origins and different stages of evolution throughout history until the present day. Then, we discuss the potential new roles that contemporary kamishibai could assume in the educational context. Finally, we present an educational proposal to promote its use in early childhood education. We consider that the development of artistic interpretation, the potential value of a text when performed theatrically facilitates the introduction of multiculturalism to children. 1. Introduction Kamishibai is a type of theatrical performance that offers an alternative way to tell stories to children.
    [Show full text]
  • Stuy Hall to Begin Multi-Million Renovation Ohio Wesleyan Honors Memory of Alice Klund Levy, ‘32, Who Endowed $1 Million to University in Estate Gift
    A TRUE COLLEGE NEWSPAPER TranscripTHE T SINCE 1867 Thursday, Oct. 29, 2009 Volume 148, No. 7 Stuy Hall to begin multi-million renovation Ohio Wesleyan honors memory of Alice Klund Levy, ‘32, who endowed $1 million to university in estate gift Phillips Hall vandalized By Michael DiBiasio Editor-in-Chief Graffiti was found inside and outside Phillips Hall Monday morning by an Ohio Wesleyan house- keeper with no sign of Photos provided courtesy of.... forced entry to the building, Left: Stuyvesant Hall shortly after it opened in 1931. Note the according to Public Safety. statue above the still-working white fountain. Public Safety Sergeant Above: Alice Klund Levy, pictured in this field hockey team photo in Christopher Mickens said the front row second from left, left a $1 million donation after her he is unsure whether the death in 2008, to be used for Stuy’s renovation. This will account markings found on chalk- for a considerable chunk of the planned restoration. boards, whiteboards, refrigerators and doors in By Mary Slebodnik have to use the money for a majored in politics and gov- ing her president of Mortar days and date nights because Phillips have any specific Transcript Reporter predetermined project or spe- ernment and French. She Board. normal heels echoed too loud- meaning. cific department. That deci- played field hockey along- According the 1932 edi- ly in the hallways. “Generally, such sym- A late alumna’s $1 million sion was left up to administra- side Helen Crider, whom the tion of “Le Bijou,” the cam- On Oct. 3-4, the board of bols represent the name of gift to the university might tors.
    [Show full text]
  • Breathing New Life Into Comic Collections
    BREATHING NEW LIFE INTO COMIC COLLECTIONS: DRAWN & QUARTERLY’S CHOICE TO REFORMAT & REPUBLISH FOR A YOUNG READERSHIP by Gillian Cott B.A. (Honours) English Language & Literature, University of Windsor, 2012 B.Ed., University of Windsor, 2013 Project submitted in partial fulfillment of the requirements for the degree of Master of Publishing Faculty of Communication, Art, and Technology © Gillian Cott, 2016 Simon Fraser University Fall 2016 • This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. APPROVAL Name Gillian Cott Degree Master of Publishing Title of Project Breathing New Life into Comic Collections: Drawn & Quarterly’s Choice to Reformat & Republish for a Young Readership Supervisory Committee ________________________________ Hannah McGregor Senior Supervisor Assistant Professor, Publishing Program Simon Fraser University ________________________________ John Maxwell Supervisor Associate Professor, Publishing Program Simon Fraser University ________________________________ Marcela Huerta Industry Supervisor Assistant Editor Drawn & Quarterly Montreal, Quebec Date Approved ________________________________ ii BREATHING NEW LIFE INTO COMIC COLLECTIONS ABSTRACT Graphic novels and comic reprints have recently surged in popularity due to Hollywood adaptations and bestselling titles such as Art Spiegelman’s Maus and Marjane Satrapi’s Persepolis. Despite these successes, publishers still struggle to find the right audience for many comic collections. This report focuses on Drawn & Quarterly’s decision to reprint two comic collections in smaller, kid-friendly editions. It analyzes why D+Q decided to reformat the Janssons’ Moomin comics and Mizuki’s Kitaro manga for specific readerships, with a focus on the emerging genre of crossover literature.
    [Show full text]
  • Selected Books on East Asia for Pre-K to 5 Grade
    Selected Books on East Asia for Pre-K to 5th Grade The following list of books contains recommendations complied by professional children’s librarians, library journals, and Asia educators for books that cover Asian folktales, culture, art, language, music, crafts, and various other themes. Books are listed according to title, with full information provided on content, level, region of interest, etc. These books provide an excellent introduction to students at the PreK to 5th grade level to a number of topics of interest, and include both fiction and nonfiction and a wide variety of styles and reading levels. Many books are also marked for their quality in being used for reading aloud. Complied by the Carnegie Library of Pittsburgh Children’s Department and the Asian Studies Center at the University of Pittsburgh. * Please note that any title beginning with an article such as “a”, “an”, or “the” will be alphabatized by the first letter of the next word. ISBN numbers given are generally ISBN-13 codes for standard hardcover or paperback editions. Books which are out of print may often be obtained at public libraries or via used bookstore networks such as http://www.abebooks.com. Ancient China (DK Eyewitness Books) Arthur Cotterell (Author) ISBN: 978-0756613822 Audience: Grade 4 and up Keywords: photography, history, art, culture Region: China From School Library Journal: Done in typical "Eyewitness" format, this volume touches upon such topics as Chinese history, the first emperor, inventions, health and medicine, waterways, food and drink, clothing, the Silk Road, and arts and crafts. Material from as recent as the last dynasty, which ended in 1911, is included; because all of the information is presented in double-page spreads, some cover extremely wide time frames.
    [Show full text]
  • S and Y Spieler
    SANDYSPIELER 2014 DISTINGUISHED ARTIST She changes form. She moves in between things and in between states, from liquid to solid to vapor: raindrop, snowflake, cloud. She orients. She refreshes. She transforms and sculpts everyone she encounters. She is a landmark and a route to follow. She quenches our thirst. We will not live without the lessons in which she continually involves us any more than we could live without water. TABLE OF CONTENTS INTRODUCTION SHE MOVES LIKE WATER: When a MinnPost interviewer asked Sandy Spieler why she had chosen puppets as her medium, Sandy replied that “ DIVINING SANDY SPIELER HAVE NO PUPPETS COLLEEN SHEEHY 3 LIFE OF THEIR OWN, AND YET, WHEN YOU PICK THEM UP, A BREATH COMES INTO THEM. And then, when you lay them down, the breath goes THEATER OF HOPE out. It’s the ritual of life: We’re brought to our birth, then we move in our DAVID O’FALLON 18 life, then we lie down to the earth again.” For Sandy, such transformation is the very essence of art, and the transformation IN THE HEART OF THE CITY in which she specializes extends far beyond any single performance. She and her HARVEY M. WINJE 21 colleagues and her neighbors transform ideas into spectacle. They transform everyday materials like cardboard, sticks, fabric, and paper into figures that come to life. And through their art, Sandy and her collaborators at In the Heart of the Beast Puppet BIGGER THAN OURSELVES and Mask Theatre (HOBT) have helped transform their city and our region. Their PAM COSTAIN 25 work—which invites people in by traveling to where they live, learn, play, and work— combines arresting visuals, movement, and music to inspire us to be the caretakers of our communities and the earth.
    [Show full text]
  • Filippino Lippi and Music
    Filippino Lippi and Music Timothy J. McGee Trent University Un examen attentif des illustrations musicales dans deux tableaux de Filippino Lippi nous fait mieux comprendre les intentions du peintre. Dans le « Portrait d’un musicien », l’instrument tenu entre les mains du personnage, tout comme ceux représentés dans l’arrière-plan, renseigne au sujet du type de musique à être interprétée, et contribue ainsi à expliquer la présence de la citation de Pétrarque dans le tableau. Dans la « Madone et l’enfant avec les anges », la découverte d’une citation musicale sur le rouleau tenu par les anges musiciens suggère le propos du tableau. n addition to their value as art, paintings can also be an excellent source of in- Iformation about people, events, and customs of the past. They can supply clear details about matters that are known only vaguely from written accounts, or in some cases, otherwise not known at all. For the field of music history, paintings can be informative about a number of social practices surrounding the performance of music, such as where performances took place, who attended, who performed, and what were the usual combinations of voices and instruments—the kind of detail that is important for an understanding of the place of music in a society, but that is rarely mentioned in the written accounts. Paintings are a valuable source of information concerning details such as shape, exact number of strings, performing posture, and the like, especially when the painter was knowledgeable about instruments and performance practices,
    [Show full text]
  • Rainer Ganahl: El Mundo Saturday, April 19Th – Saturday, May 24Th, 2014 Inaugural Opening Reception: April 19Th, from 7-9:30 Pm
    April 1st, 2014 Pre-Opening Press Release Kai Matsumiya For Press inquiries: 153 ½ Stanton Street m. 617 678 4440 New York, New York 10002 w. 646 455 3588 www.kaimatsumiya.com [email protected] Gallery Hours: Tue-Sat: 12-8pm Rainer Ganahl: El Mundo Saturday, April 19th – Saturday, May 24th, 2014 Inaugural Opening Reception: April 19th, from 7-9:30 pm Kai Matsumiya is pleased to announce its inauguration with an exhibition of Rainer Ganahl’s El Mundo. The original project, an ad hoc, classical music performance, staged at the now-defunct El Mundo discount store, encapsulates the history of an East Harlem building as it passes through diverse incarnations that trace economic, demographic, and cultural shifts on both the local and global scene. Reflecting on the event, Ganahl writes: “Many opera pieces bring us back to politics, to emerging working-class cultures in which slaves and exploited people play a role, mirroring the industrialization of Europe in the 19th century with the rather under-privileged context in which El Mundo was built and functioned in Spanish Harlem.” The exhibition reenacts the event through photographs and film and runs from, Saturday, April 19th through May 24th. The space at 153 1⁄2 Stanton Street retains the left-over remains of the former tenant, Rocksmith, which sold merchandise from the Wu-tang clan among the other hip-hop retail items. The back space is graced with a genuine graffiti tag by “Mathematics”, the producer at Wu-Tang, and other remnants. Ganahl’s El Mundo piece at Kai Matsumiya will include a film projection of the live performance, and photographs of El Mundo.
    [Show full text]