Source : Bibliothèque Du CIO / IOC Library

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Source : Bibliothèque du CIO / IOC Library COMPAGNIE MERGE CUNNINGHAM - Peter Brook parle en ces termes de la troupe: "Le travail de Merce Cunningham (en bas a droite) est d une importance considerable. II prospecte de nouvelles directions, il est libre, ouvert aux forces que pressent I'artiste sans pouvoir les controler — tout en restant precis, classique et severe. C'est un amalgame mysterieux domine par une intense actlvite creatrice." La compagnie Merce Cunningham a presente trois programmes auxquels participaient John Cage et Gordon Mumma, le pianiste David Tudor et Jasper Johns, conseiller artistique. Confirmation des idees de I Brook, ces spectacles ont reaffirme la tres haute qualite et I'exceptionnelle importance de la tache du choregraphe, mais avant tout le libre jeu dans lequel la danse devient a la fois cause, effet et reflet exact d'un objectif essentiel: ['exaltation du corps humain dans la contradiction du mouvement. Merce Cunningham nous a explique de vive voix sa position face a la "representation" choregraphique du corps humain et sa collaboration avec Cage, Jasper Johns et Rauschenberg: "La danse devient pour moi reellement interessante quand j'aborde un domaine inconnu."

MERCE CUNNINGHAM COMPANY - Peter Brook has written that "the work of Merce Cunningham (lower right) is of the highest quality and greatest importance. It searches in new directions, it is free, open to the play of all the forces the participating artist senses without being able to control-and yet it is presise, classical and severe. This is a mysterious marriage brought about by an intense creativity." The company offered three programs, with the assistance of composers John Cage and Gordon Mumma, pianist David Tudor and scenographer Jasper Johns. Underlining the enthusiastic praise of Brook, the group's performances illustrated the quality and importance of Cunning- ham's work, and above all the free play of which the latter are cause and ; eK«K^f5:# effect, result and intimate reflection of an essential goal: to praise the human 4 m body through the contradiction of movement. Cunningham explains his attitude toward the choreographic "representation" of the human body and toward his collaboration with Cage, Johns and Rauschenberg: The dance becomes truly interesting to me when I am confronted by the unknown, the unfamiliar.

Source : Bibliothèque du CIO / IOC Library BALLET-THEATRE DES PAYS-BAS (a gauche) - Depuis sa creation en 1959, le Ballet-Theatre des Pays-Bas s'est essentiellement consacre a la promotion choregraphique, essayant de combler le fosse qui existe depuis toujours entre ballet classique et danse moderne. Le programme de ses activites est ex- tremement charge, puisque chaque annee il presente en onze mois une douzaine d'oeuvres nouveiles dont les meilleures sont definitivement inscrites au repertoire de la troupe. Administre par Carel Birnie et Aart Verstegen, le Ballet- Theatre compte deux directeurs artistiques, Hans van Manen et Benjamin Harkarvy, un maitre de ballet, Hanny Bouman, un chef d'orchestre, Zoltan Szilassy et vingt-six danseurs.

NETHERLANDS DANCE THEATRE (opposite) - Since its inception in 1959, the Netherlands Dance Theatre has been devoted to the expansion and evolution of choreographic art through the conscious breaking down of barriers between classical ballet and modern dance. The company has an extremely full schedule and executes a program of intense creative activity which includes the production of ten to twelve new works each eleven-month season, from which successful ballets are added to the permanent repertoire. Administered by Carel Birnie and Aart Verstegen, the company is composed of two artistic directors, Hans van Manen and Benjamin Harkarvy; a ballet master, Hanny Bouman; an orchestra leader, Zoltan Szilassy; and twenty-six dancers.

MARTHA GRAHAM ET SA COMPAGN1E DE BALLET - "Liberatrice de Fart" souvent comparee a Picasso, Martha Graham (en bas a droite) a exerce une influence profonde sur les acteurs, les stylistes de mode et les musiciens des Etats-Unis et du monde entier. Depuis quelques annees, elle semble collec- tionner prix et distinctions, mais aussi les disciples qui voient en elle Tincarna- tion de la vie dansee. Lors de ses presentations a Mexico, cette tres grande artiste a interprete le role d'Hecube, reine de Troie, et celui de I'abbesse HeloTse, I'auteur des remarquables lettres a Abelard.

MARTHA GRAHAM AND HER DANCE COMPANY - A "liberator of art" who has been compared to Picasso, Martha Graham (lower right) has exerted a lasting influence on the actors, fashion designers and musicians of the United States and the entire world. The honors and prizes she has been awarded are innumerable, as are her disciples, who see in her choreographic art the best way of representing life through the dance. In her company's Mexico City program. Miss Graham interpreted the role of Hecuba, Queen of Troy and that of the abbess Heloise, author of the remarkable letters to Abelard.

Source : Bibliothèque du CIO / IOC Library BALLET-STUDIO DE PRAGUE — La creation du "Studio" est due a trois amis, les BALLET DU THEATRE DE L'OPERA DE DUSSELDORF - En douze ans d'existence, danseurs Lubos Ogoun et Pavel Smok et le critique Vladimir Vasuta. Les cet Opera est devenu Tun des theatres musicaux les plus importants du monde. membres de la troupe se reunissent le 17 aout 1964 dans la salle du Theatre 11 presente douze premieres par an et possede un repertoire de cinquante musical de Prague, pour leur premiere repetition. C'est ainsi qu'est forme un operas et quinze ballets. La troupe de I'Opera de Diisseldorf entend revaloriser ballet experimental independant, libere des contingences des theatres "a le "theatre de la danse" pour en faire un ensemble ou musique, choregraphie grand spectacle" ou la danse n'est souvent consideree que comme un support et decor sont inseparables. Objectif si parfaitement atteint qu'on a parle, a de I'opera, de I'operette et eventuellement, dg drame. juste raison, d'une conception revolutionnaire du theatre musical.

PRAGUE STUDIO BALLET — The idea of creating the Studio was conceived by BALLET OF THE DUSSELDORF OPERA THEATRE - In its twelve years of acti- three friends, choreographers Lubos Ogoun and Pavel Smok and critic Vladimir vity, this opera has become one of the most outstanding musical theatres in Vasuta. On August 7, 1964, the dancers of this company gathered in the the world. Each year the company premieres twelve works, and it has a ballet salon of the Musical Theatre of Prague for their first rehearsal. Thus permanent repertory of fifty operas and fifteen ballets. The Diisseldorf Opera the first independent experimental Czech ballet was formed, free of the Company is attempting to revive the "theatre of the dance" and to closely complicated workings of "monumental" theatre, in which ballet is frequently unite music, choreography and scenography, aims which have been so nearly given only a supporting role in opera, operetta or drama. attained as to cause talk of the achievement of a new ideal in musical theatre.

Source : Bibliothèque du CIO / IOC Library S0L1STES DU BALLET BOLCHOI - Cette prestigieuse compagnie, la plus celebre dans son genre, tire sa legende de grandes figures classiques: Pavlova, Massine, Nedezha, Begdanova, Zhukov, Oulanova at beaucoup d'autres. Le public mexicain a eu I'occasion d'admirer ces remarquables artistes lors des diverses visites effectuees dans ce pays par les solistes du Bolchoi ou par le ballet tout entier. Dans le cadre du Programme culturel des Jeux, cinquante artistes selectionnes parmi les meilleurs interpretes de la troupe ont presente "Le spectre de la rose" et le deuxieme acte du "Lac des cygnes". Au programme figuraient egalement le "Grand pas de deux" du ballet "Don Quichotte", . "Souvenirs" sur une musique de Dvorak et "Gopak" du ballet "Tarass Boulba" (inspire de la nouvelle de Gogol), spectacle qui a amplement confirme I'excellence des choregraphes et danseurs de cette troupe, tous grandes figures du ballet classique mondial. Les programmes etaient presentes soit au Theatre des Beaux-Arts, soit ^ TAuditorium national.

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SOLOISTS OF THE BOLSHOl BALLET - The Bolshoi Ballet, the finest company of its kind in the world, owes its legend to great figures of classical ballet such as Pavlova, Massine, Nedezha, Begdanova, Zhukov, Ulanova and many others. The Mexican public has had the opportunity of admiring its remarkable artists on various occasions when they have visited the country- soloists as well as the entire Bolshoi Ballet. As a part of the Cultural Pro- gram of the Olympic Games, fifty artists selected from among the best members of the company presented "The Spectre of the Rose" and the second act of "Swan Lake," as well as the Grand Pas de Deux from the ballet "Don Qui- xote," "Memories" with music by Dvorak and "Gopak" from the ballet "Taras Bulba," based on the novel by Gogol. Their several nights of unforget- table performances at the Fine Arts Theatre and the National Auditorium confirmed the reputation of the members of this company-some of the world's best classical dancers-for perfection and technical elegance.

Source : Bibliothèque du CIO / IOC Library I

BALLET NATIONAL DE CUBA -La premiere compagnie professionnelie de ballet NATIONAL BALLET OF CUBA - The first professional ballet company of Cuba cubaine a ete fondee en 1948 par Alicia et Fernando Alonso, avec la colla- was founded in 1948 by Alicia and Fernando Alonso in collaboration with boration du choregraphe Alberto Alonso. La troupe, reorganisee en 1959 sous choreographer Alberto Alonso. Reorganized in 1959 under the auspices of les auspices du nouveau gouvernement revolutionnaire, a participe au lVe the new revolutionary government, the company participated in the IV In- Festival international de Ballet, ou elle a remporte le Grand Prix de la ville de ternational Ballet Festival, where it won the Grand Prize of the City of Paris. Paris. Sa directrice Alicia Alonso (a gauche) a fait ses debuts aux Etats-Unis Alicia Alonso (opposite), the group's director, made her professional debut in ou elle a fonde le ballet "Caravan", ancetre de I'actuel New York City Ballet. the United States, where she founded the Caravan Ballet, today the New York Premiere danseuse americaine invitee par le Ballet sovietique, elle a aussi City Ballet. The first dancer from the Americas invited to dance with the travaille avec la troupe du BolchoT et effectue, avec sa compagnie, de nom- Soviet Ballet, Miss Alonso has also worked with the Bolshoi Ballet Company and, with her own company, has made numerous tours abroad. breuses tournees a I'etranger.

STARS AND SOLOISTS OF THE PARIS OPERA BALLET - This group is directed ETOILES ET SOL1STES DU BALLET DE L'OPERA DE PARIS - La troupe a pour vedette Claude Bessy (ci-dessus) - premiere danseuse et choregraphe^ de by Claude Bessy (above)-who will be remebered by many for her performance with Gene Kelly in the film "Invitation to the Dance"-prima ballerina presque toutes les oeuvres presentees au Mexique — qui joua aux cotes de Gene Kelly dans le film "Invitation a la danse". Parmi ses plus grands succes, and choreographer of almost all the works presented by the company. One signalons "Play Bach" qu'elle a realise en collaboration avec I'ensemble de of her most famous successes was "Play Bach," a ballet presented in colla- Jacques Loussier. "Imaginons J.S. Bach musicien contemporain, dit-elle. boration with the Jacques Loussier Trio. "Let us imagine J. S. Bach as a Qu'aurait-il pu composer en s'inspirant de ses propres themes classiques, pour contemporary musician," says Miss Bessy. "Basing himself on his own classical themes, how would he compose a ballet to express the evolution from un ballet exprimant revolution de la danse academique a la danse moderne?... Play Bach." Par ailleurs, Claude Bessy et cette compagnie presenterent a academic dance to modern dance?... Play Bach." In Mexico, the Paris Mexico des choregraphies tres diverses, allant de la Symphonic classique Opera Ballet's stars and soloists presented a program which ranged from Prokofiev's "Classical Symphony" to the "Jealousy Tango" by Jacob Gade. de Prokofiev jusqu'au tango "Jalousie" de Jacob Gade.

Source : Bibliothèque du CIO / IOC Library BALLET NATIONAL DU CANADA — De creation relativement recente (1950), ce ballet est pourtant considere par la critique comme un ensemble de tout premier ordre. Celia Franca, qui en assume la direction depuis ses debuts, a invite des vedettes Internationales - Anthony Tudor, John Cranko, Kenneth McMillan, George Baianchine, Sir Frederick Ashton, Dame Ninette de Valois et Erik Bruhn - a collaborer avec elle. Accompagne par i'orchestre de I'opera des Beaux-Arts de Mexico que dirigeait George Crum, le spectacle presentait "Romeo et Juliette", "Le lac des cygnes", "La sylphide", "Solo", "Un en cinq", "Le corsaire", "Concert baroque", "Don Quichotte" et le deuxieme acte de "Casse-noisette" (ci-contre).

BALLET DE L'OPERA DE FINLANDE (a droite) - Ce Ballet a fait ses debuts en 1921 avec une presentation integrale de la celebre choregraphie du "Lac des cygnes" de Tchaikovski, realisee par Petipa et ivanov. L'Opera de Finlande entretenant des relations suivies avec les grands theatres du monde, son programme est aussi varie que celui des plus prestigieuses compagnies et combine les toutes dernieres innovations du monde entier. Sa premiere danseuse etoile, Doris Laine, s'est produite au Bolchoi et au Festival choregraphique de Londres. Au Mexique, la troupe a presente, outre "Le lac des cygnes" en version originale, la "Suite en blanc", ."Don Quichotte" et le "Romeo et Juliette" immortalise par Serge Prokofiev.

NATIONAL BALLET OF CANADA — Of relatively recent creation (1950), this company is nevertheless considered one of the world's great ballets. Celia Franca, director of the group since its inception, has invited many international choreographers and dancers-among them Anthony Tudor, John Cranko, Kenneth McMillan, George Baianchine, Sir Frederick Ashton, Dame Ninette de Valois and Erik Bruhn-to work with the company. Accompanied by the orchestra of the Fine Arts Opera of Mexico, directed by George Crum, the National Ballet of Canada presented "Romeo and Juliet," "Swan Lake," "La Sylphide," "Solo," "One in Five," "Le Corsaire," "Concerto Barroco," "Don Quixote," and the second act of "The Nutcracker" (left).

FINNISH OPERA BALLET (opposite) — This company made its debut in 1921 with a full-length presentation of Tchaikovsky's "Swan Lake," interpreted by Petipa and Ivanov. The Opera is closely associated with many of the great theatres of the world and its repertory is as varied and up-to-date as that of any major dance group. Many famous ballet stars have danced at the Finnish Opera and this company's best dancers have visited other countries, proving themselves to be of international stature. Doris Laine, the group's leading female dancer, has appeared with the Bolshoi and at the London Ballet Festival. In Mexico the group presented an original version of "Swan Lake," as well as "Suite en Blanc," "Don Quixote," and Prokofiev's "Romeo and Juliet."

Source : Bibliothèque du CIO / IOC Library VINGT ANS DE DANSE MODERNE MEXICAINE - Cree par decret presidentiel en 1947, I'lnstitut national des Beaux-Arts fonda lui-meme I'Academie mexicaine de Danse "pour creer et diffuser dans le monde un ballet moderne dont les sources seraient purement nationales." Confrontatron des techniques d'autrefois avec le traitement donne aujourd'hui aux memes ballets, confrontation du talent d'Ana Merida (page de gauche), interprete de "La ballade de la lune et le chevreuil" de Mabarak, avec celui de Rossana Filomarino qui aujourd'hui recree ce ballet (en bas a droite). Parmi les oeuvres presentees figuraient de nombreux spectacles classiques mexicains. — "Zapata" et "La manda" — ainsi . que des choregraphies de Bravo, Reyna, Keys, Lavalle, Arriaga et Flores.

TWENTY YEARS OF MODERN MEXICAN DANCE - In 1947 the National Institute of Fine Arts was founded by presidential decree, and the Mexican Academy of Dance was established "to create and make known throughout the world a type of modern ballet of purely Mexican inspiration." Thus techniques of ttie past are blended with modern-day treatments of the same ballets, and the talent of Ana Merida (opposite), the original interpreter of "The Ballad of the Moon and the Deer" by Mabarak, is contrasted with that of Rossana Filomarino (lower right), who recreated the role this year. Among the works presented were classic Mexican ballets such as "Zapata" and La manda, and others by Bravo, Reyna, Lavalle, Keys, Flores and Arriaga.

Source : Bibliothèque du CIO / IOC Library (

Ill6 FESTIVAL DE DANSE PROFESSIONNELLE, CLASSIQUE ET CONTEMPORAINE - Ill FESTIVAL OF PROFESSIONAL, CLASSICAL AND CONTEMPORARY DANCE - This Ce spectacle reunissait trois des meilleures compagnies mexicaines de ce presentation combined three of the best Mexican dance companies—the Inde- genre: le Ballet independant (extreme gauche), le Ballet national (page de pendent Ballet (opposite, left), the National Ballet (opposite, upper right) gauche, en haut) et le Ballet classique (page de gauche, en bas). Toutes trois and the Classical Ballet (opposite, lower right). Each group expresses itself s'expriment dans un langage choregraphique qui les singularise tout en les through a characteristic choreographic language that at the same time dis- iSlili reunissant par une communaute d'interets et un ideal de beaute qui n'est autre tinguishes it from the others and unites it with them in their common goal— que celui de la dense. the representation of the ideal of beauty through the dance.

"0RCHIS1S" GREEK CHOREOGRAPHIC ENSEMBLE (above) - Zouzou Nicoloudi, - ENSEMBLE CHOREGRAPHIQUE GREC "ORCH1SIS" (ci-dessus) - Sa directrice, Zouzou Nicoloudi, a declare: "Notre groupe espere, grace a des etudes mu- the director of this dance company, has said: "The aim of our group is to sicales, phonetiques et plastiques approfondies, dominer completement ces reach, through parallel training in music, speech and movement, a point at trois moyens d'expression. Nous ne pretendons pas monter une tragedie an- which effortless expression in all three areas is achieved. We are not producing ancient Greek drama nor are we putting on a theatrical performance, it • tique, encore moins une representation theatrale. II s'agit en fait ici d un spectacle experimental ou I'element principal, la danse, s'associe etroitement is rather an experimental type of dance in which the main element, the ••Hi a la parole et a la musique." choreography, is closely interwoven with the spoken word and the music."

Source : Bibliothèque du CIO / IOC Library ANTONIO ET SES BALLETS DE MADRID (page de gauche, en haut) - Le critique espagnol Ramon Pujol a dit en 1962: "On ne s'interroge pas sur la vaieur et la personnalite d'un danseur de la classe d'Antonio; on se contente d'affirmer qu'il incarne le ballet espagnol classique le plus pur. II danse avec ce "duende" qui ne s'apprend ni ne s'achete dans aucune academie."

SON1A AMELIO ET SON BALLET DE CHAMBRE (page de gauche, en bas) - Cette remarquable danseuse de caractere et joueuse de castagnettes a etudie le piano au conservatoire de Mexico. Depuis, elle a realise Tune de ses plus cheres aspirations: creer un corps de ballet par I'intermediaire duquel elle a su s'exprimer totalement.

RAFAEL DE CORDOVA (ci-contre) - Ne a Buenos Aires, Rafael de Cordova a forme en Espagne — pays d'origine de sa famille — sa propre compagnie dont il a cree toutes les choregraphies et monte tous les ballets. Aujourd'hui considers comme le plus prometteur des jeunes danseurs et choregraphes de son pays, il donne a tous ses ballets "un etat d'ame espagnol qui deborde largement I'anecdote folklorique.

THEATRE ET DANSE ESPAGNOLS DE LUIS1LL0 (en bas a droite) - C'est au Mexi- que, son pays natal, que Luisillo a fait ses debuts de danseur et de choregraphe. II se joignit a la troupe de Carmen Amaya et fonda ensuite sa propre compagnie. II a monte un ballet inspire d'une epttre de saint Luc et diverses choregraphies qui, a partir de scenes quotidiennes et de poemes de Garcia Lorca, recreent le monde gitan.

ANTONIO AND HIS BALLETS DE MADRID (opposite, above) - The Spanish critic Ramon Pujol said in 1962: "There is nothing to be gained in analyzing the talent and personality of a dancer such as Antonio; it is enough to say that he represents the classic Spanish dance at its most pure. He dances with a spirit that can neither be bought nor learned in any academy."

SONIA AMELIO AND HER CHAMBER BALLET (opposite, below) - This remarkable Mexican dancer and castanet player par excellence studied piano at the National Conservatory of Music in Mexico City. Later she achieved one of her highest aspirations—to create a first-class corps de ballet through which she could fully express her many artistic talents.

RAFAEL DE CORDOVA (upper right) - Born in Buenos Aires, Rafael de Cordova later went to Spain-the ancestral home of his family-where he formed his own company, writing all the choreography and producing all his ballets himself, Today considered one of the most promising young Spanish dancers and choreographers, he imbues all his ballets with a degree of Spanish atmosphere and color that goes beyond that of the mere folk anecdote.

LUISILLO'S SPANISH THEATRE AND DANCE (lower right) - Luisillo began his career as a dancer and choreographer in his native Mexico, where he studied and later joined the company of Carmen Amaya. Working with his own group, Luisillo has created a ballet inspired by an epistle of St. Luke, as well as numerous others that, based on scenes from daily life and on poems by Garcia Lorca, recreate the exotic atmosphere of the gypsy world.

Source : Bibliothèque du CIO / IOC Library BALLET 0LYMP1QUE IDLA DE SUEDE (a gauche) - Le ballet "athletique-rythmi que" n'apparait pas seulement comme 1'expression de la beaute, mais comme un art fonctionnel at construit. Le choregraphe Ernst Idla est ne en 1901. Les principes de son art, ou les elements descriptifs et decoratifs sont relegues au second plan, ont degage les jeunes Suedoises du Ballet olympique des doctrines conventionnelles pour creer une danse pure et abstraite celebrant une fete du mouvement.

IDLA OLYMPIC BALLET OF SWEDEN (opposite) - This athletic-rhythmic ballet evolved by Ernest Idla has a well-grounded functional basis as well as a capacity to awaken esthetic pleasure in its audience. The principles of Idla's art, in which the descriptive and decorative elements have been relegated to second place, have carried the young Swedish members of his Olympic Ballet company beyond conventional theory to a pure and abstract form of dance whose sole aim is to express the joy of movement.

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BALLET DES AMERIQUES - La troupe du Ballet folklorique du Mexique et sa directrice Amalia Hernandez ont presente neuf spectacles correspondant chacun a un pays d'Amerique latine. Leur objectif etait de crier un "Ballet" servant a la fois de trait d'union entre ces nations, leurs peuples et leurs coutumes. Pour sa realisation, A. Hernandez fit appel a de celebres choregraphes mexicains qui etudierent le tres riche folklore de chacun de ces pays dans des instituts et sous la supervision de chercheurs specialises. Chargee du Ballet du Venezuela (ci-contre), Elvira Beristain prit pour theme la nuit de la Saint-Jean, I'une des principals fetes de I'annee pour la population noire et mulatre du littoral de ce pays. Ce spectacle comportait six numercs: "Fulia", "Cueillette d'herbes et de plantes a I'aube de la Saint-Jean", "Prome- nade avec chant de I'Ave Maria", "Le martyre du saint. La procession", "Les sirenes" et "Danse du tambour rond". Assistee de Magali Miro, Aurora Agiieria avait monte le ballet panameen (page 318, en haut), qui etait inspire des \ diverses danses executees lors du carnaval. Toute la population du pays, sans distinction de classes, participe aux rejouissances et se retrouve dans la rue pour danser au son du tambour. Les dizains specialement composes pour I'occasion sont entonnes par un soliste et repris en choeur par le public. Interviennent egalement de nombreuses danses paysannes dont la melancolie contraste fortement avec le tempo des tambours. Monte par Rodolfo Reyes, le Ballet de Cuba (page 318, en bas) comportait trois parties distinctes. La premiere etait consacree a une ceremonie d'initiation encore en usage dans toute Tile et qui consiste en un "bain lustral" dans la riviere d Ochun, deesse de Tor. On coupe ensuite les cheveux de Tinitiee; des animaux sont sacrifies; les herbes sacrees sont moissonnees et des peintures rituelles sont dessinees

Source : Bibliothèque du CIO / IOC Library sur le corps de la jeune fille. Les dieux descendent enfin dans I'assistance et president a la danse de la nouvelle "santera . A cette messe yorouba succe- daient "Mystere Abakua" et une mascarade de carnaval celebree le 6 janvier, jour de grace pour les esclaves. Principale richesse du pays, le cafe et sa recolte constituaient Targument du Ballet du Costa Rica (ci-contre) dont la choregraphie etait signee Martha Bracho. Apres la cueillette ou "pizca", on celebre une noce au cours de lapuelle les nouveaux maries reQoivent des cadeaux et dansent avec les paysans. Pour le Ballet d'Argentine (page 320, en haut), la choregraphe Roseyra Marenco, assistee de Beatriz Duarte, avait monte des danses sur une musique de Waldo Belloso et dans des costumes de Luis Diego Pedreira. Ce ballet reunissait trois elements particulierement representatifs du folklore argentin; la "Zamba", construite autour du jeu du mouchoir; le "Pericon", danse de groupe du Rio de la Plata, directement issue du quadrille europeen et peut-etre la plus typique des danses argentines; enfin, le "Malambo", un pas tres repandu dans le pays. Le ballet argentin illustrait quelques vers extraits du Martin Fierro. Le Guatemala (page 320, en bas) etait represente par des danses invoquant Pascual Abaj, le petit dieu du destin adore par les Maya-Quiches de la region de Chichicaste- nango. Ce spectacle etait dirige par le danseur, acteur et choregraphe Farnesio de Bernal. Dansee sur des themes de Tiburcio Gutierrez et montee par Guiller- J. mina Penaloza qu'assistaient Mme. Julia Fortun et le musicien E. Palomi- no, la "Diablada de Oruro" bolivienne (page 321, en haut) symbolisait I'adoration que portent les mineurs de cette ville du haut plateau andin a une divinite prehis- panique, "Supay" (diable en langue quetchua), qui habite les entrailles de la terre. Le Ballet de Colombie, "El Dorado", (page 321, en bas) dont la choregraphie etait due a Josefina Lavalle et la musique au compositeur mexicain Rafael Elizondo, relatait I'apparition sous forme d'aerolithe du dieu d'or dans la cordillere andine.

Amalia Hernandez s'etait personnellement chargee de I'arrangement choregraphique du Ballet du Mexique. Originaire de Puebla, la Danse des Quetzals celebre la beaute de cet oiseau mythologique d'Amerique centrale que les Indiens considerent sacre, Ne dit-on pas que le grand panache de 1 empereur i - azteque Moctezuma (pres de deux metres de diametre) se composait de vingt- quatre plumes arrachees au prix de grands risques a ces splendides animaux?

BALLET OF THE AMERICAS - The Ballet Folklorico de Mexico, directed by Amalia Hernandez, presented nine dance programs based on themes from various other Latin-American countries, with the objective of creating a "Ballet" that would serve as a bond between these nations, their people and their customs. To achieve this end. Miss Hernandez made use of the skills of distinguished Mexican choreographers, who had studied the extremely rich and varied folklore of each one of these countries in institutes under the supervision of specialized researchers. Elvira Beristain, in charge of the Ballet of Venezuela (page 317, at right), chose the theme of St. John's Night, one of the principal holidays of the black and mulatto population of the Venezuelan

^ ' * ::-' coast. This presentation consisted of six numbers: "Fulia, Gathering Plants

Source : Bibliothèque du CIO / IOC Library and Herbs at Dawn on St. John's Day," "Procession to the Chant of the Ave Maria," "The Martyrdom of the Saint, The Procession," "The Sirens" and the "Dance of the Round Drum." Aurora Agiieria, assisted by Magali Miro, directed the Ballet of Panama (page 318, above), inspired by various dances performed in this country during Carnival. Putting class distinctions aside, all the people of Panama participate in the holiday festivities and gather in the streets to dance to the music of drums and sing songs written especially for the occasion. Another part of the Carnival are the peasant dances, whose melan- i choly mood contrasts with the lively rhythm of the drums. Choreographed by Rodolfo Reyes, the Ballet of Cuba (page 318, below) was made up of three principal parts. The first reproduced the various stages of an initiation ceremony still practiced throughout Cuba: a "purificatory bath" in the Ochun River, the Goddess of Gold; a ritual haircut for the initiate; the expiatory killing of animals; the crushing of sacred herbs; the covering of the body of the initiate with ritual painting; and, finally, the descent of the gods to witness the dance of the new "keeper of the temple." This "Yoruba Mass" was followed by the "Abakua Mystery," dealing with a secret male society and, finally, the representation of a carnival masquerade celebrated on the sixth of January, the day of freedom for the slaves. The Ballet of Costa Rica (page 319, right) had as its theme the harvesting of coffee, the country's principal crop. Choreographer Martha Bracho also depicted the celebration of a Costa Rican wedding after the harvest, the bride and groom receiving gifts and dancing with the peasants. The Ballet of Argentina (psge 320, above) was choreographed by Roseyra Marenco, assisted by Beatriz Duarte and with costume design by Luis Diego Pedreira and musical arrangements by Waldo Belloso. It brought together some of the most expressive elements of Ar gentine folklore: the "Zamba," based on a handkerchief game; a group dance from the Rio de la Plata region called the "Pericon," a direct descendant of the European quadrille and perhaps the most typical of all Argentine dances; and the "Malambo," the Argentine dance of the most widespread popularity. The Argentine ballet illustrated various verses of the legendary gaucho Martin Fierro. The Ballet of Guatemala (page 320, below) was composed of dances which invoked Pascual Abaj, the small god of destiny worshipped by the Maya- Quiche Indians in the region of Chichicastenango. This program was directed by the dancer, choreographer and actor Farnesio de Bernal. The Ballet of f'-FKr Bolivia (page 321, upper right) was by Guillermina Penalosa,with the assistance of Dr. Julia Elena Fortun; the musical themes by Tiburcio Gutierrez were arranged for the program by E. Palomino. The Bolivian "Bewitchment of Oruro" depicted the miners of the Andean town of Oruro, worshipers of the pre-Hispanic god "Supay" ("devil" in the Quechua language), who lives in the bowels of the earth. The Ballet of Colombia, "El Dorado" (page 321, lower right), choreographed by Josefina Lavalle and with music by the Mexican mt'H composer Rafael Elizondo, told how the God of Gold appeared in the form of a meteorite in the Andes Mountains.

Amalia Hernandez was personally in charge of the choreographic arrangements for the Ballet of Mexico. The "Dance of the Quetzales" from Puebla depicted the beauty of this Central American bird-considered sacred by the Indians—the dancers wearing plumed headdresses almost two metres in diameter. The great headdress of Moctezuma is said to have been made of twenty-four magnificent long quetzal feathers captured at great risk.

Source : Bibliothèque du CIO / IOC Library BALLET AFRICA1N — Get ensemble represente Tune des plus authentiques expressions du folklore africain. Ses 46 danseurs, chanteurs et musiciens brossent un tableau splendide et fremissant de Tame de leur peuple. M. Keita Fodeba, le fondateur du Ballet qui est aujourd'hui ministre de la Defense de la Republique de Guin6e, a parfaitement su traduire la passion de ses com- patriotes pour la danse, le tempo de leurs tam-tams et la musicalite limpide de leur vie de tous les jours. Ses divers tableaux faisaient revivre les legendes

I heroiques, les divinites et le destin, les prouesses et 1 ardeur guerriere, les presages et la magie, I'amour et la mort. Ses interpretes traduisent, par la I musique et le mouvement, leur passe, leurs coutumes, leurs traditions et leurs plus profondes aspirations.

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AFRICAN BALLET — This group from the Republic of Guinea is one of the most authentic expressions of African folklore. In Mexico City its forty-six IP singers, dancers and musicians created an exciting image of the soul of their people. Keita Fodeba, founder of the African Ballet and at present the

: ; : "; • Republic of Guinea's Minister of Defense, has brought to the stage the Africans' passion for dancing, the rhythm of the drums and the clear musicality of everyday African life. The African Ballet's Mexico City program dramatically illustrated the heroic legend of Africa, its deities and destiny, the glorification of warrior's feats and prowess, the drama of omens and magic, love and death. When these artists dance, music and movement speak eloquently of their past, their customs, their traditions and their human aspirations.

Source : Bibliothèque du CIO / IOC Library BALLET BAYANIHAN — Le mot "bayanihan" evoque une tres ancienne et tres belle tradition philippine, selon laquelle les individus et les communautes ras- semblent benevolement toutes leurs ressources en vue de I'accomplisse- ment d'une grande tache. Cette solidarite a inspire le nom et les travaux de la Compagnie de Danses Philippines Bayanihan qui respecte tant son pa- tronyme qu'elle ne comporte aucune premiere figure; tous ses membres sont egaux. L'etoile de la troupe est: "Bayanihan". L'interet pour le folklore philippin s'est eveille vers 1920, sous I'impulsion du recteur de I'universite des Philippi- nes, M. Jorge Bocobo, de Mme Francisca Reyes Aquino, alors professeur a Manille, et d'un groupe, "The Philippine Women's University", qui ensemble elaborerent un programme de conservation de la musique et des danses folkloriques du pays, par la presentation de recitals et de concours. En 1957, un groupe fut envoye au Japon ou il presenta plusieurs spectacles et, I'annee suivante, la corporation "Bayanihan Folk Arts Association" fut creee pour financer ses activites. Le gouvernement des Philippines a delegue le Ballet Bayanihan a I'Exposition de Bruxelles pour y representer son pays, puis I'a ensuite envoye en tournee a Bangkok, Rome et Barcelone.

BAYANIHAN BALLET — The Tagalo word "bayanihan" evokes a very ancient and beautiful Philippine tradition, according to which individuals and groups join forces to accomplish something. This spirit of working together inspired the formation of the Bayanihan Philippine Dance Company. The group has no "stars"-all the. members are equal, the most important thing to them being "Bayanihan." Interest in Philippine folklore first began to be stimulated around the year 1920 by the then Rector of the University of the Philippines, Dr. Jorge Bocobo; by Professor Francisca Reyes Aquino of the Manila City Schools; and by a group from the Philippine Women's University which began to collect and preserve folk music and dances and eventually to sponsor numerous recitals and contests. In 1957 a group was sent to Japan to present performances of Philippine music and dance, and the following year the Bayanihan Folk Arts Association was created to finance the group's activities. The government of the Philippines sent the Bayanihan Ballet as its representative to the Brussels World's Fair, and the group later went on to appear in Bangkok, Rome, Barcelona and various other cities throughout the world.

Source : Bibliothèque du CIO / IOC Library BALLET FOLKLORIQUE ROUMAIN "CIOCIRLIA" (ci-dessus et ci-contre) - Ces remarquables danses, accompagnees d"'etranges et merveilleux instruments", accordent une place de premier plan aux costumes, dont la variete et la richesse sont uniques au monde.

BALLET FOLKLORIQUE ZHOK (page de droite) — Ensemble emerite de la Repu- blique de Moldavie, cette troupe tire son nom des fameux festivals nationaux de cette region. Tune des plus riches au point de vue folklorique.

' .. . i "CIOCIRLIA" RUMANIAN FOLK BALLET (left and above) - The remarkable Rumanian folk dances performed by this group-accompanied by what have been called "strange and marvellous instruments'-stress the importance of the dancers' costumes, whose richness and variety are unique in the world. t... k

ZHOK FOLK BALLET (opposite) - This great dance ensemble took its name from the famous festivals celebrated in Moldavia, one of the Soviet Socialist Republics most well known for its wide variety of traditional folk arts.

Source : Bibliothèque du CIO / IOC Library $ *'

Source : Bibliothèque du CIO / IOC Library MAESTROS CUBANOS

EXPOSITIONS EXHIBITIONS

La peinture a tenu une place a part dans le Festival international des Paintings occupied a place of prime importance at the International ft Arts et dans la section d'art moderne de I'Exposition "Oeuvres choisies Festival of the Arts as well as in the section of modern art at the Exhi-

...t de I'Art mondial". A ces deux manifestations Internationales, il faut bition of Selected Works of World Art. In addition to these two exhibi- ajouter celles presentees par d'innombrables galeries et institutions tions, others were presented by galleries and official and private insti- officielles et privees. Les toiles ont ete pour la plupart exhibees dans tutions. Most of the works appeared in various salons of the Palace of les salles du Palais des Beaux-Arts et du Musee d'Art moderne. Parmi Fine Arts and the Museum of Modern Art. Among the galleries, institu- les autres galeries, institutions et musees exposants, signalons le Salon tions and museums that participated were the Salon of Mexican Plastic mf«i mmi de la Plastique mexicaine, les Galeries d'Art mexicain, d'Art des collec- Art; the San Carlos, Watercolor and Colonial Painting museums; the tionneurs, d'Art Misrachi, Plastique du Mexique et Centrale d'Art Chapul- Isidro Fabela Cultural Center; the Mexican-Israeli Institute; the Art in- mm tepec, Jose Maria Velasco, Zona Rosa, Juan Martin, Antonio Souza, stitute of Mexico; the French Institute of Latin America; the Iberoameri- Edgard Munch, Jack Misrachi, Marcos Fastlicht, Pecanins, Sagitario, Itur- can University; the National Autonomous University of Mexico; and *v- bide, Mer-Kup, Reforma, la Pinacotheque vice-royale, les musees San numerous galleries (Jose Maria Velasco, Juan Martin, Pink Zone, Antonio Carlos et de I'Aquarelle, le Centre culturel Isidro Fabela, I'lnstitut mexi- Souza, Misrachi, Edgard Munch, Jack Misrachi, Marcos Fastlicht, Peca- cano-israelienj'lnstitut d'Art du Mexique, I'lnstitut francais d'Amerique nins, Sagitario, Iturbide, Mer-Kup, Chapultepec, Central, Reforma, the §- mmm^ latine, 1'Universite ibero-americaine, I'Universite nationale autonome du Gallery of Mexican Art, the Collector's Art Gallery, and the Plastic Art M Mexique et d'autres qui figurent dans les guides mensuels edites par Gallery of Mexico), as well as others listed in the monthly exposition ; • m < .»^•' " le Comite organisateur. guides published by the Organizing Committee's Publications Department.

^ '? ^ . < Les plus interessantes manifestations furent les suivantes: "Maitres Some of the most outstanding exhibitions were: Cuban masters; fifty ••K^M i HI MP 1 cubains"; 50 annees de production artistique de Rufino Tamayo; Arman- years of artistic production by Rufino Tamayo; Armando Morales; Ken ..., BY CII15VA do Morales; Ken Kusaka; Marina Nunez del Prado; Jean Chariot; Julio Kusaka; Marina Nunez del Prado; Jean Chariot; Julio Le Pare; Rico Lebrun; Le Pare; Rico Lebrun; Kafka; Guayasamm; Vlady; Louis Ageron; Rodri- Kafka; Guayasamin; Vlady; Louis Ageron; Rodriguez Lozano; Friedeberg; guez Lozano; Friedeberg; Rafael Coronel; Toledo; Siqueiros; Orozco Rafael Coronel; Toledo; Siqueiros; Orozco Romero; Casimiro Castro; Yu- Romero; Casimiro Castro; les "Naifs yougoslaves"; I'Art traditionnel goslavian primitives; traditional and contemporary art of Japan; the iiiiil et contemporain du Japon; les Traditions et I'Art contemporain de la traditions and the contemporary art of Czechoslovakia; Czechoslovakian Tchecoslovaquie; les Decors tchecoslovaques; Images et Documents; la scenography; images and documents; contemporary Polish tapestry; Tapisserie polonaise contemporaine; Trois aspects de la Gravure bresi- three aspects of contemporary Brazilian engraving; Fritz Riedl tapestries; i 5&e .. iF ® • w-^5R lienne contemporaine; les Tapisseries de Fritz Riedl; I'exposition "Solar"; the "Solar" exposition; kinetic art; art in jewels by Salvador Dali; stone I - * .;"•' I'Art cinetique; I'orfevrerie d'art de Salvador Dali; la Sculpture en pierre and scrap metal sculpture; British engravings; "Crime by Cuevas ; potho- •

Le Service des Publications du Comite organisateur a edite une serie de cata- The Organizing Committee's Department of Publications produced a series of jl*; •I gues de luxe en hommage aux artistes qui ont participe au Programme culturel deluxe catalogues in recognition of the artists who participated in the Cul- des Jeux de la XIX Olympiade. ^ura' OlymP'ad- pi mm

FfiASCISCO TOIEB0 A8MM88 MORALES

Source : Bibliothèque du CIO / IOC Library T«-

Pedro Friedeberg et son epouse Wanda Sevilla devant un de ses tableaux. Siqueiros — ici avec M. Ramirez Vazquez — presentait quelques acryliques. Zebra-clad Friedeberg and wife Wanda Sevilla before one of his works. Siqueiros—shown here with Ramirez Vazquez—presented a series of acrylics. 333

SOURlOI NtWYORK

Rafael Coronel ou une certaine forme d'expressionnisme, intense et raffinee. Jose Luis Cuevas exposait une serie de lithographies a la galerie Zona Rosa. Toledo de Oaxaca, une personnalite compiexe, aussi mystique que ses toiles. Exhibition des oeuvres de Manuel Felguerez a I'eiegante galerie Juan Martin. Rafael Coronel is known for his refined, intense style of expressionism. Oaxaca's Francisco Toledo—a complex personality as mystic as his paintings. Manuel Felguerez exhibited his work at the exclusive Juan Martin Gallery. Jose Luis Cuevas hung his own lithographs at the new Zona Rosa Gallery.

Source : Bibliothèque du CIO / IOC Library mtm iiiii 't. llill

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Ci-dessus: Rufino Tamayo. "Couple en gris". Huile sur toile. 97 x 130 cm. Hom- Above: Rufino Tamayo. "Couple in Gray." Oil on canvas. 97 x 130 cm. Homage iir mage a Rufino Tamayo, 50 ans de travaux artistiques. (Palais des Beaux-Arts). to Rufino Tamayo, His Fifty Years as an Artist. (Palace of Fine Arts.) Page de droite: Wilfredo Lam. "Silhouettes". Huile sur toile. 154 x 124 cm. m- ' Opposite: Wilfredo Lam. "Figures." Oil on canvas. 154 x 124 cm. Cuban Masters. Maitres cubains. (Musee d'Art moderne). (Museum of Modern Art.) HHn

Source : Bibliothèque du CIO / IOC Library I

\l Page de gauche en haut M Felguerez. "A la recherche de la mouette". Huile Opposite, above: Manuel Felguerez. "In Search of a Sea Gull." Oil » sur toiie. 200 x 325 cm. 50 ans de peinture mexicaine. (Galerie J. M. Velasco). 200 x 325 cm. Fifty Years of Mexican Painting. (Jose Maria Velasco Gallery.)

0i canvaS Page de gauche en bas: Enrique Climent. "Rite noir (Composition)." Huile sur Opposite, below: Enrique Climent "Black Pite jr '^ - toiie. 118 x 148 cm. Salon de la Peinture 1968. (Salon de la Plastique mexicaine). 118 x 148 cm. 1968 Salon of Painting. (Salon of Mexican

Ci-dessus- Armando Morales, "Phonographe 111". Caseine et huile sur toiie. Above: Armando Morales. "Phonograph HI." Casein and oil on canvas. 101 x 101 x 127 cm. (Palais des Beaux-Arts). 127 cm. (Palace of Fine Arts.)

Source : Bibliothèque du CIO / IOC Library iliiSilll

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Ci-dessus a gauche: Xavier Esqueda. "Le triomphe mecanique". Huile sur toile. Above, left: Xavier Esqueda. "The Mechanical Triumph." Oil on canvas. 120 x 120 x 150 cm. Exposition Solar 68. (Palais des Beaux-Arts). 150 cm. Solar Exposition 68. (Palace of Fine Arts.)

Ci-dessus a droite: Marina Nunez del Prado. "Maternite". Bois sculpte. 57 x 40 Above, right: Marina Nunez del Prado. "Maternity." Wood sculpture. 57 x 40 x 25 cm. (Musee d'Art moderne). aRMpS. 5 s x 25 cm. (Museum of Modern Art.) iii ' Page de droite: Kenji Kusaka. "Oeuvre 67-17". Lithographie. 55 x 70 cm. Art Opposite: Kenji Kusaka. "Work 67-17." Lithograph. 55 x 70 cm. Contemporary contemporain du Japon. (Musee d'Art moderne). Art of Japan. (Museum of Modern Art.)

Source : Bibliothèque du CIO / IOC Library Ci-dessus: Casimiro Castro. "La rue Roldan et son debarcadere". Lithographie. Above: Casimiro Castro. "Canal Market at Roldan Street." Lithograph. 23.5 x 23,5 x 33,5 cm. (Palais des Beaux-Arts). 33.5 cm. (Palace of Fine Arts.)

Page de droite, en haut a gauche: Rico Lebrun. "Crucifixion". Lavis et pastel Opposite, upper left: Rico Lebrun. "Crucifixion." Ink wash and pastel on paper. sur papier. 33 x 46 cm. (Palais des Beaux-Arts). 33 x 46 cm. (Palace of Fine Arts.)

Page de droite, en haut a droite: Matija Skurjeni. "Cabane de gitans". Huile Opposite, upper right: Matija Skurjeni. "Gypsy Cabin." Oil on canvas. 78 x 93.4 sur toile. 78 x 93,4 cm. Naifs yougoslaves. (Musee d'Art moderne). cm. Yugoslavian Primitives. (Museum of Modern Art.)

Page de droite, en bas a gauche: Jean Chariot. "Sept Malinches". Huile sur toile. Opposite, below left: Jean Chariot. "Seven Malinches." Oil on canvas. 76 x 76 x 102 cm. (Musee d'Art moderne). 102 cm. (Museum of Modern Art.)

Page de droite, en bas a droite: Juan O'Gorman. "La philanthropie". Esquisse au Opposite, below right: Juan O'Gorman. "Philanthropy." Pencil sketch for a mural crayon pour une peinture murale destinee a la YMWJA de Pittsburgh. 40x49 painted for the YMWJA in Pittsburgh, Pa. 40 x 49 cm. Studies for Mural Paint- cm. Projets de peintures murales de Juan O'Gorman. (Palais des Beaux-Arts). ings by Juan O'Gorman. (Palace of Fine Arts.)

Source : Bibliothèque du CIO / IOC Library I

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IP Page de gauche en haut: Ando Hiroshige. "Paysage le long de la route Tokaido". Opposite, above: Ando Hiroshige. "Landscape along the Tokaido Highway." Gravure. 35 x 43 cm. (Periode Edo). Art traditionnel du Japon. (Palais des Engraving. 35 x 43 cm, (Edo Period.) Traditional Art of Japan. (Palace of Beaux-Arts). Fine Arts.) Page de gauche en bas: Gillian Ayres. "Demeure de Crivellis I . 57 x 77,5 cm. Opposite, below: Gillian Ayres. "Room of Crivellis 1." 57 x 77.5 cm. Engravings Gravures d'Artistes britanniques, nouvelles tendances (Musee d'Art moderne). by British Artists-. New Tendencies. (Museum of Modern Art.)

Ci-dessus; Pedro Friedeberg. "Orphelinat de jeunes filles de Tehuantepec". Above; Pedro Friedeberg. "Tehuana Orphanage." Mixed technique on cardboard. 76 x 101 cm. (Antonio Souza Gallery.) /An r^SxNt^X /7y^7h»n r^At>^JX Technique mixte sur carton. 76 x 101 cm. (Galerie Antonio Souza).

Source : Bibliothèque du CIO / IOC Library Salvador Dali. "L'oeil du temps". Montre en trois tons d'email bleu ornee de Salvador Dali. "The Eye of Time." Watch in three shades of blue enamel; diamants baguettes montes sur platine et d'un cabochon de rubis, Un Art du round and baguette diamonds set in platinum; cabochon ruby. Art in Jewels. Manuel Alvarez Bravo. "Cheminant sans cesse". Photographie. Photographies Manuel Alvarez Bravo. "Always Walking." Photograph. Photographs by Manuel Bijou. (Hotel El Presidente). (El Presidente Hotel.) de Manuel Alvarez Bravo. (Palais des Beaux-Arts). "Abolir la distance que Alvarez Bravo. (Palace of Fine Arts.) "To obliterate the distance that a I'appareil met entre le createur et son sujet." camera places between the artist and the object."

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Ci-dessus: Bige remain. Sculpture en marbre. (Ml siecles ap. J.-C.). Muses du Above: Roman chariot. Marble sculpture. (1st or 2nd century A.D.) The Vatican Vatican. Exposition "Le sport dans I'art classique". Museum. Exhibition of Sports in Classic Art.

Page de droite; "Visite de I'ange a Ste Elizabeth". Detrempe sur bois. 147 x Opposite; "St. Elizabeth with the Angel." (1480). Distemper on wood. 147 x 160 cm. Vers 1480. Peint au dos du tableau "Nativite" de Spisska Podhradie, 160 cm. Painted on the reverse side of "Nativity," a work by the Master of oeuvre du Maitre du Chapitre de Spis. Traditions et Art contemporain de the Spis Chapter in Spisska Podhradie. Contemporary Czechoslovakian Art Tchecoslovaquie. (Palais des Beaux-Arts). and Traditions. (Palace of Fine Arts.)

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Ci-dessus a droite: Lyn Lye. "Source". Aluminium. Hauteur: 250 cm. Exposition Above, right: Lyn Lye. "Fountain." Aluminum. Height: 250 cm. Exhibition of d'Art cinetique. (Universite nationale du Mexique). Kinetic Art. (National University of Mexico.)

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Page de gauche: Rafael Coronel. "Samuel et son epouse". Huile sur toile. 120 Opposite; Rafael Coronel. "Samuel and His Wife." Oil on canvas. 120 x 120 cm. x 120 cm. (Galerie d'Art mexicain). (Gallery of Mexican Art.)

Ci-dessus- Jose Luis Cuevas. "Couple Borgia". Lithographie. 73 x 92 cm. "Crime Above: Jose Luis Cuevas. "The Borgia Couple." Lithograph. 73 x 92 cm. From par Cuevas". (Galerie Zona Rosa). "Crime by Cuevas." (The Zona Rosa Gallery.)

Source : Bibliothèque du CIO / IOC Library WaWr# f Jm-

Ci-dessus: Francisco Toledo. "Ripapa ne Zee". Acrylique sur papier. 75 x 102 Above: Francisco Toledo. "Ripapa ne Zee." Acrylic on paper. 75 x 102 cm. (The cm. (Ex-couvent de Santo Domingo de Guzman, Oaxaca). former Santo Domingo de Guzman monastery, Oaxaca.)

Page de droite: David Alfaro Siqueiros. "Autoportrait retrospectif 1924". Acryli- Opposite: David Alfaro Siqueiros. "Self-Portrait: Retrospective 1924." Acrylic que sur agglomere. 116 x 123 cm. (Galerie Zona Rosa). on plywood. 116 x 123 cm. (The Zona Rosa Gallery.)

Source : Bibliothèque du CIO / IOC Library I \

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mmMS&§i. Centered at the Olympic Village, the Route of Friendship is Mmm La Route de TAmitie — trongon de 17 km de I'Anneau peripherique sud, I'autoroute encerclant Mexico — passe devant a seventeen-kilometer stretch of the Periferico (the Belt Ole Village olympique et relie entre elles les installations O Freeway encircling Mexico City) joining the sports installa- i sportives, amenagees dans un quartier recouvert il y a deux mille ans tions that are located on land covered thousands of years ago by par les laves du volcan Xitle. Aujourd'hui, la pierre volcanique a ete lava and volcanic ash from the Xitle volcano. Today, the volcanic rock mise a profit pour creer un style architectural original dont les lignes et which resulted from upheaval has formed the base of a unique architec- les formes s'integrent parfaitement au cadre naturel du lieu. Sur la tural style combining lines and shapes with natural elements. Along Route de I'Amitie ont ete placees 19 sculptures monumentales executees the Route of Friendship were placed nineteen outsize sculptures created par des artistes d'Australie, d'Autriche, de Belgique, d'Espagne, des by artists from Australia, Austria, Belgium, Czechoslovakia, France, Etats-Unis, de France, de Hongrie, d'lsrael, d'ltalie, du Japon, du Maroc, Hungary, Israel, Italy, Japan, Mexico, Morocco, the Netherlands, Poland, du Mexique, des Pays-Bas, de Pologne, de Suisse, de Tchecoslovaquie Spain, Switzerland, the United States and Uruguay. Scale models had et d'Uruguay. Apres examen des maquettes par un groupe de techniciens previously been studied by a group of Mexican architects headed by Pedro Ramirez Vazquez and Mathias Goeritz, principal coordinator of the '-Sfe mexicains preside par M. Pedro Ramirez Vazquez et M. Mathias Goeritz, mkmM le coordinateur du projet, la selection finale tut effectuee par deux project. The final selection was determined by juries on two levels- jurys — national et international — formes de representants du Comite national as well as international-which were made up of representa- organisateur des Jeux, d'architectes et de critiques d art. tives from the Organizing Committee, architects and art critics.

WiiBiiii Calder restera a jamais present au Mexique grace a sa sculpture Soleil Mexico has a permanent reminder ot Calder's visit in his "Red Sun," a rouge", reflet de sa personnalite artistique: envoi des formes, jeu des sculpture which reflects his artistic personality; airy grace, interplay of espaces, equilibre des masses, innocence retrouvee. spaces, natural balance of masses, innocence regained.

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Source : Bibliothèque du CIO / IOC Library Ce projet fut anime, des ses debuts, par un ideal de profonde compre- The guiding principle behind this project became evident from the very hension. En effet, non contente de servir de trait d'union entre les beginning. In addition to linking the sports installations, the Route of sites sportifs, la Route de I'Amitie permit aussi d'etablir une etroite Friendship would put the sculptors in close contact with planners, collaboration entre sculpteurs, planificateurs, architectes, ingenieurs et architects, engineers and many other people connected with art, sports tous ceux qui contribuerent a la creation de cette route de I'art, du and international relations. Subsequently, each sculptor brought his sport et de la fraternite. Chacun d'eux mit son talent et son enthousias- talent and enthusiasm into play in creating forms that established a me au service d'un triple objectif: integrer les sculptures au cadre dans rapport with nature and a harmonious relation with the sports instal- lequel elles devaient etre erigees; les adapter harmonieusement aux lations and the urban complexes bordering the route, at all times tak- ensembles urbains qui bordent le boulevard peripherique; enfin, les ing into consideration the needs of the latter's occupants. concevoir en fonction des installations sportives. As a direct result of the careful studies undertaken, the exchange of Des etudes approfondies, des echanges d'idees, la genereuse collabo- ideas and wholehearted cooperation of governments and private insti- ration destitutions publiques et privees ainsi que les conferences et tutions, and the papers submitted and discussed during the Interna- colloques presentes lors de la Reunion Internationale de Sculpteurs tional Conference of Sculptors—which formed part of the overall pro- organisee dans le cadre de ce projet, ont permis d'en faire un symbole ject—it became possible to conceive the sculptures as a symbol of de concorde et de paix entre les pays participants. Amenagee sur Tune harmony among nations. Located along one of the most important and des grandes arteres de la ville, la Route de I'Amitie a ete pour les most widely traveled thoroughfares in Mexico City, the Route of Friend- habitants de Mexico et les visiteurs olympiques un element nouveau et ship became, for the capital's residents as well as their guests, a vivant du paysage de pierre et de ciel qui I'entoure. Rpvant I'immense Stade Azteca gisent les elements non encore assembles du "Soleil rouge", hommage de I'inventeur des mobiles aux Jeux Olympiques. fresh, vital and truly unique contrast to the landscape. Before the monumental Aztec Stadium lie the unassembled elements of the "Red Sun," designed in honor of the Olympic Games by the inventor of mobile sculpture. 359

ALEXANDER CALDER, grand createur de sculptures aninees et I'un ALEXANDER CALDER, the great artist whose works so deeply influenced des principaux inventeurs de la realite contemporaine, etait I'invite the modern sculptural movement and who is considered one of the most d'honneur de la Reunion Internationale de Sculpteurs organisee par le important and expressive inventors of the reality of our time, was Comite des Jeux. Cette invitation etait un hommage chaleureux a Tartiste the guest of honor at the International Conference of Sculptors. The V,.. ? qui, par ses sculptures mobiles, a su transformer la nature et, partant, invitation in itself was a warm tribute to the man who, through his nous faire participer a un etat de grace sans cesse renouvele, a un mobiles, has discovered a unique way of transforming nature, allowing enchantement d'une irresistible seduction. us to share a constantly renewed vision of beauty.

Lors de son sejour au Mexique, Alexander Calder a ete acclame par les Alexander Calder came to Mexico, lived with the people, and was warmly etudiants, les artistes, les membres du Comite et le grand public lauded by students, the public, artists and members of the Committee. auxquels il a expose ses idees, son attitude face a I'art et a la vie All had the opportunity of hearing his opinions, of learning of his avec la sagesse et la simplicite qui caracterisent les plus grands. attitude toward art and life—views expounded with the wisdom and 11 a aussi execute une sculpture, "Soleil Rouge", qui aujourd'hui se simplicity that characterize the great. In Mexico, his sculpture "Red dresse face au Stade Azteca, dans laquelle on retrouve sa remarquable Sun"—completed during his stay in this country—stands in front habiletea transformer la valeur et le poids des materiaux employes, of the Aztec Stadium. It is another proof of Calder's ability to evaluate sa parfaite maitrise des volumes et des espaces et le subtil dialogue the nature and validity of the materials used, of permitting an inter- qu'il salt etablir entre ses oeuvres et les formes environnantes. Chef- play between them and the space in which they are located and of d'oeuvre et temoignage, "Soleil Rouge" demeure done aussi au Mexique positing questions and answers in complete harmony with the surround- comme un symbole. BSSSSsSSsasss siiststjuxxtstttat ing forms. This masterpiece will remain in Mexico as a living symbol.

Source : Bibliothèque du CIO / IOC Library I 1

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Source : Bibliothèque du CIO / IOC Library •SMll

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Nivola-. "un systeme de moulage au sable . Nivola; "system of sand-molded bas-reliefs."

363

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• • Gurn'a; "sculpture integree a I'architecture". Mise en place des dix-neuf enormes sculptures qui ornent le trongon de L'Anneau peripherique appele Route de I'Amitie. Gum'a: "sculpture integrated with architecture." Nineteen huge, complicated sculptures were constructed along a section of thruway known as the Route of Friendship.

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Willi Gutmann — "a partir d'un corps de base desarticule". Herbert Bayer — "problemes de communication visuelle". Fonseca - "des experiences sur divers materiaux". Reunion de Sculpteurs' Jacques Moeschal, Olivier Seguin, Costantino Nivola, Miloslav Chlupac, Mohamed Melehi, Kioshi Takahashi, Helen Escobedo et Todd Williams. Willi Gutmann — "new sculpture with a disjointed base." Herbert Bayer — "problems of visual communication." Fonseca - "experimenting with various materials." Meeting of Sculptors: Jacques Moeschal, Olivier Seguin, Costantino Nivola, Miloslav Chlupac, Mohamed Melehi, Kioshi Takahashi, Helen Escobedo and Todd Williams.

Source : Bibliothèque du CIO / IOC Library 364

Le foyer des Beaux-Arts lors de i'inauguration de la Reunion de Sculpteurs IVIIVI. Urrutia, Ramirez Vazquez, Goeritz et Wendl, membres de la presidence The Palace of Fine Arts during the inauguration of the Meeting of Sculptors Executive committee members Urrutia, Ramirez Vazquez, Goeritz and Wendl

En dehors de la Route de I'Amitie furent edifiees deux autres sculptures monumentales: "La Grande Ourse" de Mathias Goeritz, sept colonnes de beton qui, vues d'en haut, figurent chacune une etoile et decorent aujourd'hui la Grande Esplanade du Palais des Sports; et enfin Thomme qui court", une sculpture de bronze de sept metres de haut qu'a realisee I'artiste mexicain German Cueto sur les campus de la Cite universitaire. \f

Two sculptures were located outside the Route of Friendship. One of these was "Ursa Major," by Mathias Goeritz. Constructed in concrete, it consists of seven columns which—when viewed from above—take on the form of stars. M. Jacques Moeschal, membre du Comite du "Chemin des Arts" de Royaumont. Les architectes Enrique Langenscheidt et Mex Cetto au cours du symposium It was placed in the front esplanade of the Sports Palace. The other work Jacques Moeschal, member of the "Chemm des Arts" Committee of Royaumont. Architects Enrique Langenscheidt and Max Cetto during the symposium. was "Man Running," by Mexican sculptor German Cueto. Seven meters high and made of bronze, it was located on the University City campus.

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Source : Bibliothèque du CIO / IOC Library 10 11 12

366

LA ROUTE DE L'AMITIE ANGELA GURRIA (Mexique) — Nee a Mexico en 1929. A etudie la sculpture avec WILLI GUTMANN (Suisse) — Ne a Diesdorf (Suisse) en 1927. A etudie dans THE ROUTE OF FRIENDSHIP German Cueto et travaille dans les ateliers d'Abraham Gonzalez et de Mario divers pays d'Europe. S'interesse tout particulierement a la sculpture monumen- Zamora. A realise divers travaux de sculpture integree a I'architecture, disci- tale et a la creation de figures mobiles a partir d'un corps desarticule qui 1 ANGELA GURRIA MEX 8 JACQUES MOESCHAL BEL 15 ITZHAK DANZIGER ISR pline pour laquelle elle a gagne le premier prix de la llle Biennale de Sculpture tourne et se deplace. A realise des expositions individuelles et collectives en Suisse, en Allemagne, dans le Royaume-Uni, aux Etats-Unis, au Japon et der- 2 WILLI GUTMANN SUI 9 TODD WILLIAMS EUA du Mexique. A donne des cours de sculpture a I'Dniversite ibero-americaine 16 OLIVER SEGUIN FRA nierement au Mexique. 3 MILOSLAV CHLUPAC CHE et a I'Universite des Ameriques. 10 GRZEGORZ KOWALSKI POL 17 MOHAMED MELEHI MAR 4 KIOSHI TAKAHASHI JPN 11 JOSE MA. SUBIRACHS ESP 18 HELEN ESCOBEDO MEX. ANGELA GURRIA (Mexico). Born in Mexico City in 1929, she studied sculpture WILLI GUTMANN (Switzerland). Born in Diesdorf in 1927. He studied in 5 PIERRE SZEKELI HUN-FRA 12 CLEMENT MEADMORE AUS with German Cueto and attended the workshops of Abraham Gonzalez and various European countries, showing a marked interest in monumental sculpture 19 JORGE DUBON MEX and in the development of movable figures formed from a basic body that 6 GONZALO FONSECA URU 13 HERBERT BAYER AUT-EUA Mario Zamora. She executed various architecturally integrated projects, and in this field won first prize in the Third Mexican Biennial Exposition of can fall apart, turn or move. He has held one-man and collective shows in 7 COSTANTINO NIVOLA ITA 14 JOOP J. BELJON HOL Sculpture. She has taught for several years at the Iberoamerican University. Switzerland, Germany, Great Britain, the United States, Japan and Mexico.

Source : Bibliothèque du CIO / IOC Library KIOSHI TAKAHASHI (Japon) — Ne en 1925, vit a Jalapa au Mexique. A etudie M1R0SLAV CHLUPAC (Tchecoslovaquie) — Ne a Benesov (Tchecoslovaquie) en PIERRE SZEKELY (Hongrie-France) — Ne a Budapest (Hongrie) en 1923, vit a I'Academie d'Art moderne de Mexico. A realise plusieurs sculptures pour 1920. Apres avoir appris la taille de la pierre, a etudie la sculpture a I'Ecole actuellement en France. A etudie le design, le modelage et la sculpture du I'universite de Veracruz. A participe a la lie Biennale nationale organisee par des Arts decoratifs de Prague. A participe aux expositions du groupe Mayo, a bois, mais s'interesse surtout a la sculpture monumentale. Travaille, en I'lnstitut national des Beaux-Arts, a la IXe Biennale Internationale de Tokyo et diverses expositions collectives en Tchecoslovaquie, Italie et Pclogne, au etroite collaboration avec des architectes, aux problemes d'integration ar- a I'Exposition des Artistes japonais residant a I'etranger, organisee par le Symposium international de Sculpture de St. Margareten (Autriche) et au chitectonique et aux sculptures-jeux pour enfants. A realise, entre autres, la Musee national d'Art de Tokyo. premier Symposium frangais de Sculpture a Grenoble (France). Chapelle du Carmel de Valenciennes en France.

MIROSLAV CHLUPAC (Czechoslovakia). Born in Benesov in 1920. He learned KIOSHI TAKAHASHI (Japan). Born in 1925. Today he lives in Jalapa, Mexico. PIERRE SZEKELY (Hungary-France). Born in Budapest in 1923, he is currently He studied at the Academy of Modern Art of Mexico and undertook a series stone sculpting, later studying at the School of Decorative Arts in Prague. living in France. He studied design, modeling and woodcarving, his chief of sculptural projects for the University of Veracruz. He took part in the He participated in the Mayo Group expositions and in collective shows interest being the creation of monumental sculpture. Working in close contact Second Biennial National Exposition held by Mexico's National Institute of Fine in Czechoslovakia, Italy and Poland, and took part in the International with architects, he has specialized in architectural integration problems and Arts; the Ninth International Biennial Exposition; and the Exposition of Symposium on Sculpture at St. Margareten, Austria, and in the First French in sculptural games for children. Among his architectural sculptures is the Japanese Artists Abroad, organized by Tokyo's National Museum of Art. Symposium on Sculpture in Grenoble, France. Carmel Chapel in Valenciennes, France.

Source : Bibliothèque du CIO / IOC Library GONZALO FONSECA (Uruguay) — Ni a Montevideo (Uruguay) en 1922, vit ac- SUBIRACHS (Espagne) — Ne a Barcelone en 1927, a etudie a I'Ecole supe- tuellement aux Etats-Unis. A etudie I'architecture et a rencontre Joaqum Torres rieure des Beaux-Arts. En 1948, a presente sa premiere exposition et en 1951, Garcia, promoteur de I'universalisme constructif americain. A voyage dans le s'est rendu a Paris pour completer ses etudes. A expose ses sculptures a Proche-Orient. S est installe a Paris ou ii a realise divers travaux de peinture, Bruxeiles, Bruges, Anvers, Chicago, Paris, La Havane, Taipeh, Copenhague, Sao de ceramique et de peinture murale. Se consacre a la sculpture architectoniquei Paulo et dans plusieurs villes d'Espagne. A recu le grand prix San Jorge du a la peinture murale et aux experimentations sur divers materiaux'. Realise aux Etats-Unis des travaux d'integration de i'architecture a Tart. Conseil general de Barcelone et le prix Julio Gonzalez de la Societe des Architectes et Decorateurs de Barcelone. GONZALO FONSECA (Uruguay), Born in Montevideo in 1922, he now lives in SUBIRACHS (Spain). Born in Barcelona in 1927, he studied at the Superior the United States. After studying architecture, he met Joaquin Torres Garcia School of Fine Arts, holding his first show in 1948. In 1951 he went to promoter of American constructive universalism. He traveled throughout the Paris to continue his studies. He has held exhibitions in Brussels, Bruges, Near East and then settled in Paris where he was active in painting, ceramics Antwerp, Chicago, Paris, Havana, Taipei, Copenhagen, Sao Paulo, and in and mural work. His specialties qre architectural sculpture, mural art and several Spanish cities. He was awarded Barcelona's St. George Grand Prix experimentation with different materials. He now carries out sculpturally integrated projects in the United States. and the Julio Gonzalez Prize by the Barcelona Society of Architects and Decorators. He was also commissioned by that city to make several sculptures.

Source : Bibliothèque du CIO / IOC Library ' - p*® COSTANTINO NIVOLA (Italie). — Ne en Sardaigne (Italie) en 1911, vit aux Etats-Unis. A ete professeur de beaux-arts a I'lnstitut de Monza, a Milan; directeur artistique du groupe Olivetti en Italie; direc'teur artistique de diverses publications d'architecture a New York; directeur de I'atelier de design de I'universite de Harvard et professeur d'art a I'universite de Columbia. A realise diverses oeuvres de sculpture appliquee et d'integration architecto- nique, dont de grandes peintures murales pour lesquelles il emploie un nouveau 1 systeme de moulage au sable pour les bas-reliefs. i COSTANTINO NIVOLA (Italy). — Born in Sardinia in 1911, he now lives in the United States. Teacher of fine arts at the Monza Institute, Milan; artistic director for the Olivetti Corporation in Italy; artistic director for architectural publications in New York; director of the design workshop at Harvard University, and art instructor at Columbia University. He has carried out several applied sculpture and architectural integration projects, especially with large murals. In these, he usually employs a new technique of sand molding for bas-reliefs.

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JACQUES MOESCHAL (Belgique) — Ne a Uccle (Belgique) en 1913. A donne des cours a I'Academie royale des Beaux-Arts et a I'Ecole nationale d'Architecture et des Arts visuels de Bruxelles. Est membre du Comite technique du "Chemin des Arts" de Royaumont (France) et du Comite des symposiums de Sculpteurs IP europeens en Autriche. A realise diverses sculptures monumentales en Belgique, au Canada, aux Pays-Bas, en Egypte, en Autriche et en Italie.

JACQUES MOESCHAL (Belgium). Born in Uccle in 1913. Teacher at the Royal Academy of Fine Arts and at the National School of Architecture and Visual i Arts in Brussels. Member of the Technical Committee for the Art Route in Royaumont, France, and of the European Sculptors Symposiums Committee in Austria. He has executed several monumental and commemorative sculptures in Belgium, Canada, Egypt, Austria, Italy and the Netherlands.

Source : Bibliothèque du CIO / IOC Library TODD WILLIAMS (Etats-Unis) — Me a Savannah (Georgie) en 1939. A etudie au City College et a la School of Visual Arts de New York. A donne des cours d'art a la Manhattan Country School et au Bernstein Institute. A obtenu divers GRZEGORZ KOWALSKI (Pologne) — Ne a Varsovie en 1942, est diplome de prix et bourses d'etudes et presente plusieurs expositions aux Etats-Unis I'Academie des Beaux-Arts de cette ville. A participe a plusieurs symposiums ainsi qu'en Afrique. de sculpture polonais et a des expositions Internationales, telles la lie Biennale de Formes spatiales d'Elblag et la ille Biennale d'Architecture de Brno. TODD- WILLIAMS (U.S.A.). Born in Savannah, Georgia, in 1939, he studied at the City College and at the School of Visual Arts in New York. He has served GRZEGORZ KOWALSKI (Poland). Born in Warsaw in 1942. A graduate of the as art instructor at the Manhattan Country School and the Bernstein Institute. Academy of Fine Arts in that city. He has exhibited his sculptures in Polish He has won a number of prizes and scholarships and has held shows in the symposiums and in international expositions such as the Second Biennial of United States and in Africa. Special Forms in Elblag and the Third Biennial of Architecture in Brno.

Source : Bibliothèque du CIO / IOC Library CLEMENT MEADMORE (Australie) — Ne a Melbourne en 1929, vit aux Etats-Unis. HERBERT BAYER (Autriche-Etats-Unis) — Ne a Haag en 1900, vit a Aspen A suivi des cours d'ingenieur et de dessin industriel au Royal Melbourne (Colorado). A etudie a I'Ecole Bauhaus de Weimar avec Kandinsky et a celle Technical College. A presente des expositions individuelles a Melbourne et de Dessau, ou il a ensuite ete professeur. A realise des travaux dans des Sidney. Son oeuvre se rattachant a celle des sculpteurs "structuralistes", il domaines tres varies: dessin industriel, photographie, peinture, communication a participe a plusieurs expositions collectives avec des artistes appartenant visuelle, architecture, sculpture appliquee a ['architecture, composition murale, a la tendance dite "Structures primaires". restauration de constructions anciennes, ponts et museographie.

CLEMENT MEADMORE (Australia). Born in Melbourne in 1929, he today lives in HERBERT BAYER (Austria-U.S.A.). Born in Haag in 1900, he is now a resident the United States. He studied industrial design and engineering at the Royal of Aspen, Colorado. He studied at the Bauhaus School at Weimar and was Melbourne Technical College. He has held one-man shows in Melbourne and a disciple of Kandinsky in Dessau, where he later served as instructor. Bayer Sydney and has taken part in several collective exhibitions defining the trend has worked in industrial design, photography, painting, visual communication, known as "primary structures." His work is closely related to that of architecture, sculpture as applied to architecture, monumental sculpture murals, structural sculptors. reconstruction of old buildings, bridges and museum-exhibit design.

Source : Bibliothèque du CIO / IOC Library iippj •

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JOOP J. BEUON (Pays-Bas) — Ne a Haarlem en 1922. A etudie la sculpture monumentale et les inscriptions lapidaires et realise des travaux de typogra- OLIVIER SEGU1N (France) — Ne a Montreuil-sur-mer en 1927, vit a Mexico. phie. A ete professeur de dessin industriel dans plusieurs universites des A etudie a I'Ecole des Beaux-Arts de Lille et a celle de Paris. A ete professeur Pays-Bas et directeur de I'Academie royaledes Beaux-Arts et des Arts appliques d'enseignement visuel, d'integration plastique et de sculpture dans diverses a La Haye. A entrepris diverses experiences avec les materiaux suivants: beton, ecoles du Mexique. A expose au Maroc, au Mexique et aux Etats-Unis. Realise cuivre, bois, plastique et textiles. Travaille la sculpture et le design pour en actuellement des travaux d'integration architecturale (reliefs) et diverses etudes realiser la synthese dans ses meubles-sculptures. de sculpture monumentale.

JOOP J. BEUON (The Netherlands). Born in Haarlem in 1922, he studied monu- OLIVER SEGUIN (France). Born in Montreuil-sur-mer in 1927, he now lives in mental sculpture and lapidary inscriptions. He has also worked in typographical Mexico. He studied at the School of Fine Arts in Lille and in Paris. He has design. Beljon taught industrial design at various Dutch universities and been a teacher of visual education, plastic integration and sculpture in several served as Director of the Royal Academy of Fine and Applied Arts at Mexican schools. Seguin has held shows in Morocco, Mexico and the United The Hague. He has experimented with concrete, copper, wood, plastics and States. He is currently engaged in architectural integration (reliefs) and in textiles, working toward a synthesis through sculpture and design. monumental sculpture projects.

Source : Bibliothèque du CIO / IOC Library 1TZHAK DANZIGER (Israel) — Me a Berlin (Allemagne) en 1916, vit en Israel. A etudie la sculpture a Londres. A realise des sculptures monumentales et commemoratives pour diverses villes d'lsrael. A expose dans ie Royaume-Uni, a Paris et en Israel. A participe a I'exposition "Dix artistes israeliens" au musee d'Art moderne de New York. A donne des conferences sur le dessin tridimensionnel a la faculte d'architecture Technion d'Haifa. A realise plusieurs oeuvres en pierre, en acier, en bronze, en laiton et en aluminium, des sculptures pour jardins et des travaux d'architecture de paysages.

1TZHAK DANZIGER (Israel). Born in Berlin, Germany, in 1916, he now lives in Israel. He studied sculpture in London, and has executed several monumental and commemorative sculptures for various Israeli cities. He has held shows in the United Kingdom, Paris and Israel. Danziger also took part in the exhibition "Ten Israeli Artists" held in New York's Museum of Modern Art. He has lectured on tri-dimensional design at the Haifa Technion's School of Architec- ture. In his sculptures for landscape architecture he has used stone, steel,

• bronze, tin and aluminum. " fiii

381

MOHAMED MELEHI (Maroc) — Ne a Asilah en 1936. A etudie en Espagne, Italie, France et aux Etats Unis. A realise des compositions murales, des bas- reliefs et des tableaux aux Etats-Unis et au Maroc. A ete professeur a I'Ecole des Beaux-Arts de Casablanca (Maroc). S'interesse au graphisme, a la photographie et au dessin d'affiches. A participe a de nombreuses expositions en France, en Italie, aux Etats-Unis, au Maroc et dans plusieurs pays d'Afnque.

MOHAMED MELEHI (Morocco). Born in Asilah in 1936, he studied in Spam, Italy, France and the United States. He has executed murals, bas-reliefs and paintings in the United States and in Morocco. He is now a teacher at L'Ecole des Beaux-Arts in Casablanca. Melehi has shown special interest in graphic design, posters and photography. He has taken part in expositions in France, Italy, the United States, Morocco and other African countries.

Source : Bibliothèque du CIO / IOC Library HELEN ESCOBEDO (Mexique) - Nee a Mexico en 1934, a etudie la sculpture JORGE DUBON (Mexique) — Ne au Chiapas (Mexique) en 1936, vit en France. avec German Cueto, John Skeaping, Frank Dobson, Leon Underwood et Andre A etudie la sculpture, i'architecture et la peinture au Mexique, aux Etats-Unis Willequet. A cree un centre de design (textile), des decors pour le theatre et et en France. A realise dans ces pays diverses expositions individuelles et des sculptures murales. A presente a la Galerie d'Art mexicain une exposition collectives et obtenu plusieurs prix et bourses d'etudes. A ete I assistant de de sculptures fonctionnelles realisees dans des materiaux plastiques (un ap- plusieurs sculpteurs (Seymour Lipton, Frangois Sthaly) et architectes. A realise pareil de radio, un televiseur et deux lampes). des reliefs ainsi que des travaux d'architecture et de sculpture.

HELEN ESCOBEDO (Mexico). Born in Mexico City in 1934, she studied sculpture JORGE DUBON (Mexico). Bom in Chiapas in 1936, he now lives in France. He with German Cueto, John Skeaping, Frank Dobson, Leon Underwood and Andre studied sculpture, architecture and painting in Mexico, the United States and Willequet. She established a textile design center and has created stage France, where he took part in several collective and one-man shows, winning settings for the theatre. She has also executed sculptural murals. At the various prizes and scholarships. He has served as assistant to several sculptors Gallery of Mexican Art she presented an exhibition of functional sculptures (including Seymour Lipton and Francois Stahly) and to architects. He has made from plastic materials (a radio, a television set and two lamps). executed reliefs and sculptures 3S well as planned architectural projects.

Source : Bibliothèque du CIO / IOC Library RENCONTRE INTERNATIONALE DE POETES INTERNATIONAL REUNION OF POETS

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"Le poeme, dit Octavio Paz, est un coquillage ou resonne "The poem," Octavio Paz has written, "is a shell echoing la musique du monde, les metres et les rimes n'etant que the music of the world, and stanzas and rhymes are but ^ 1- - ^ des correspondances, des echos de I'harmonie universelle." o responsive chords of universal harmony." Of all the arts, o poetry-echo and response of the Olympic Games-was most noticeably Echo et correspondance des Jeux Olympiques, la poesie etait dans la Grece ancienne le seul des arts choisi pour accompagner les joutes present in the sports celebrations of ancient Greece. It was inconceivable sportives. Elle devait done figurer au Programme culturel de ia XIX that it could have been absent from the Cultural Program of the XIX Olympiade. A cet effet, le Comite organisateur invita plusieurs auteurs Olympiad. Hence, a great number of authors representing all poetic a se reunir a Mexico et demanda a nombre d'ecrivains etrangers d'envo- tendencies and attitudes were invited to come to Mexico during the yer des oeuvres sur des themes imposes. Parmi les auteurs invites a se celebration of the 1968 Games. Many other poets were asked to send rencontrer au Mexique signalons Evgeni Evtushenko, Giuseppe Ungaretti, works that would enlarge upon the concept that the Organizing Com- Leon Felipe, Leopold Sedar Senghor, Nelly Sachs, Octavio Paz, Pablo mittee wished to stress during this Olympiad. Invitations were extended Neruda, Rene Char, Robert Lowell, Robert Graves, Ulises Eiepoudelis to Evgeny Evtushenko, Giuseppe Ungaretti, Leon Felipe, Leopold Sedar Elites, et meme Stephen Spender, R.M. Jones et Rudolf Hagelstange. Senghor, Nelly Sachs, Octavio Paz, Pablo Neruda, Rene Char, Robert Pour de multiples raisons — de sante dans la plupart des cas — cette Lowell, Robert Graves and Ulises Eiepoudelis Elites. In addition, word rencontre ne put se derouler dans les conditions prevues. Et pourtant was received of the participation of Stephen Spender, R. M. Jones and le public local et les visiteurs etrangers venus a Mexico en 1968 purent Rudolf Hagelstange. For many and diverse reasons-mostly those of entendre Evtushenko, Graves et le poete portoricain Jorge Luis Morales health—the poets' conference could not be carried out in the manner

Robert Graves, invite d'honneur, dedia un poeme de sa composition a Enri- Special-guest Robert Graves composed a poem in honor of Enriqueta Basilio, queta Basilio, premiere femme dans I'histoire des Jeux a avoir porte le the first woman in the history of the modern Olympic Games to run the final Flambeau olympique lors du dernier relais. relay-lap of the Olympic Torch.

Source : Bibliothèque du CIO / IOC Library ROBERT GRAVES

Grande figure de la poesie et de la litterature britannicjues contemporaines, Robert Graves est venu au Mexique donner plusieurs lectures de ses oeuvres, presenter le poeme "Flambeau et couronne" ecrit en I'honneur de I'athlete mexicaine Enriqueta Basilio et s'entretenir avec des intellectuels et des artistes du pays. A Oaxtepec et au Village olympique, Graves a lu, en compagnie de Salvador Novo, une selection de "Collected Poems", s'est traduit lui-meme en espagnol, puis a recite des textes de Salvador Novo et de soeur Juana Ines de la Cruz. Cette reunion comptait egalement avec la presence de Jorge L. Morales, celebre barde portoricain, et de I'actrice mexicaine Pilar Peiiicer (ci-dessus). Son oeuvre poetique, ses essais et ses recits placent Graves parmi les nouveaux inventeurs de la realite, "Collected Poems", "The White Goddess" et "I Claudius" entre autres constituent de veritables aven- tures spirituelles appartenant deja a une histoire et a une tradition litteraires.

tandis que le Comite organisateur recevait des poemes de FAIIemagne de originally planned. But the Mexican public and many of those who vis- I'Est, des Etats-Unis, de la Grande-Bretagne ("Icare", "Marine" et ited Mexico during 1968 had the opportunity of hearing Evtushenko, ROBERT GRAVES "Paysage marin" de Stephen Spender), de Finlande, de Pologne, d'lnde, Graves, and Jorge Luis Morales of Puerto Rico. The Committee also re- de Turquie, de Grece, de Colombie, des Bahamas, de Porto Rico et, ceived poems from the German Democratic Republic, the United States, One of the greatest British poets of today and an outstanding figure in contemporary literature, Robert Graves came to Mexico to give a series of bien sur, de nombreux auteurs mexicains. Par ailleurs, le Colombien Britain ("Icarus," "Marina" and "Seascape" by Spender), Finland, Po- readings of his works, to present his poem "Torch and Crown," written in honor German Pardo Garcia ecrivit pour I'occasion "Akroteraz", un poeme de land, India, Turkey, Greece, Colombia, and the Bahamas. The Mexican of Mexican athlete Enriqueta Basilio, and to talk with Mexican artists and 350 hexametres classiques inspire des oeuvres grecques du Ve siecle participation was abundant. Colombian poet German Pardo Garcia wrote writers. With Mexican poet Salvador Novo present-as well as Puerto Rican poet Jorge L. Morales and Mexican actress Pilar Pellicer-Graves read a av. J.-C. Pour sa part, Jorge Luis Morales donna, en compagnie de "Akroteraz" especially for the occasion. Conceived in 350 classic hexa- selection of his "Collected Poems" at Oaxtepec and at the Olympic Village. Robert Graves, une lecture publique au Village olympique de son oeuvre meters following the written Greek of the sixth century B. C., it juxta- He also translated some of his poems into Spanish and read from the works "Les fleuves redimes". Si, comme nous le precisions plus haut, cette poses Greek and pre-Hispanic cultures, and at times emplovs Nahuatl of Novo and Sor Juana. Many of his poems, essays, and narratives that revive ancient myths have put him in the category of new inventors of reality. rencontre n'a pu se derouler dans les conditions prevues, la poesie n'a and Greek touches. Accompanied by Graves, Morales visited the Olym- "Collected Poems," "The White Goddess," and "I Claudius," among others, pourtant pas ete absente des Jeux de la XIX Olympiade. pic Village where he read his poem "The Redeemed Rivers." are true spiritual adventures, already a part of literary history and tradition.

Source : Bibliothèque du CIO / IOC Library Ci-dessus: Jorge L. Morales, celebre barde portoricain, a compose pour la Ren- contre Internationale de Poetes une oeuvre Intitulee "Les fleuves redimes".

Ci-contre: Apres avoir presente Evgeny Evtushenko au public de I'Arene Mexico, Juan Jose Arreola a lu quelques poemes du populaire auteur sovietique.

Above: The noted Puerto Rican poet Jorge Luis Morales contributed to the international Reunion of Poets with his Olympic ode "The Redeemed Rivers."

Left: Juan Jose Arreola introduced Evgeny Evtushenko at the Mexico Arena and read some of the popular Soviet poet's works in Spanish translation,

Source : Bibliothèque du CIO / IOC Library J I V3 -:

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Source : Bibliothèque du CIO / IOC Library EVGENI EVTUSHENKO

La visite au Mexique de ce poete sovietique age de 34 ans, representant la jeune generation d'ecrivains de son pays, suscita un tel enthousiasme que chacun de ses recitals attira un public nombreux. En presence de 5 000 spectateurs (etudiants, ouvriers, intellectuels et artistes), cet ecrivain, en compagnie de I'acteur mexicain Ignacio Lopez Tarso, a lu quatorze de ses poemes au bois de Chapultepec. Quelques jours plus tard, ii a donne a I'Arene Mexico un recital auquel assisterent 15 000 personnes et un autre dans le pare de I'Ala- meda (25 000 spectateurs). A cette occasion, il etait entoure des acteurs Ofelia Guilmain (page de droite, en haut a gauche), Claudio Obregon (ci- contre) et Narciso Busquets. Outre de nombreux dialogues et entrevues avec des intellectuels mexicains, Evtushenko s'est aussi presente a Merida et a Oaxaca et a laisse en temoignage de sa visite "L'echiquier du Mexique", poeme qu'il lut pour la premiere fois lors de Tun de ses recitals.

EVGENY EVTUSHENKO

The visit to Mexico of this 34-year-old Soviet poet as representative of the youngest literary generation in his country aroused such enthusiasm that his recitals attracted a public as numerous as it was heterogenous. Before 5,000 spectators gathered at Chapultepec Park (chiefly students, workers and a large number of artists and writers), the poet read fourteen of his poems, with the collaboration of Mexican actor Ignacio Lopez Tarso. Later he gave a recital at the Arena Mexico before 15,000 persons, and another at the Alameda Central attended by 25,000 spectators. At each recital he was assisted by actress Ofelia Guilmain (opposite, upper left) and actors Claudio Obregon (left) and Narciso Busquets. Evtushenko also visited Merida and Oaxaca, where he held several recitals and interviews. The literary result of Evtu- shenko's Mexican trip is "El ajedrez de Mexico" (Mexican Chess), a poem which he read during one of his recitals.

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