Iris Before her performance.
Iris practicing
Iris Performance "La Llorona"
Wednesday, November 11, 2009
Friday, November 6, 2009
October 30Th Day of the dead 2009
Conversation about Dia de los Muertos
Community offering
Rosa's Altar
Leni D. Anderson is a self-taught visual/performance artist that lives and works in Columbus, Ohio. He has a B.A. in History of Art from The Ohio State University, and a Master of Library & Information Science degree (archives & rare books librarianship) from Kent State University.
Music Hall
Thank you to The Black Creek Bistro for letting us used the former Music Hall to have our Dia de los Muertos event. Getting ready.
The cult of the death
The death is justified in the well-fares collectivity, to continue the creation; the health of the world is more important. This purpose does not involve the individual salvation. The dead people disappear in order to return to the world of the shades, to melt to their air, to the fire and to the earth; back to essence that encourages the universe.
Offerings and altars
Leticia & OlgaThank you everybody for their hard work. We received support & help from our volunteers. Iris, Walter, Kique, Olga, Stephanie, Patrick, Kent- Black Creek Bistro, Fronteras de la noticia, Leni, Rosa, Julie & Brian, Santiago, La Michoacana, Lupe, Ruben, Carlotta, Mark, Angella, Chad.
Day of the dead Celebration 2009
Leticia & Rosa time to eat Tamales, Atole, Bread "Pan de Muerto"agua de Jamaica.
Cultural community event
Rosa, Leticia y Ruben during the Art Hosting Conversation on the Prehispanic and traditional spiritual celebration and meaning of the Day of the dead. Conversation about what does this mean today in Columbus OH?
Dia de los muertos "Celebrando Mujeres en vida"
Day of the dead Columbus OH. Celebrating Women in life
Calaveritas reading
Estaba la media muerte
comiéndose su telera;
los muchachos, de traviesos,
le gritamos "¡Calavera!"
Andale muerte canija
ponte tu rebozo y baila;
ya sé que quieres marearme
y esperas a que me caiga.
Si a tu balcón llegara
un tecolote
ráspale las narices
con un olote.
Hoy es día de todos santos
-dice un loco en sus tonteras-
son muchas las calaveras
y muy pocos camposantos.
Al pasar por el panteón
me salió una calavera:
tú me tocas el tambor
y yo muevo la cadera.
¿Quién me compra calaveras?
son de la nueva invención;
hay de bonitas y fieras
que han muerto ya de torzón;
son elegantes y finas,
a tlaco doy el montón
de las que usan crinolinas
y otras que doy de pilón.
¡Ay, triste calaverón!
ya no volará tu fama
porque te van a enterrar
el lunes por la mañana.
-Calavera vete al monte.
-No señora porque espanto.
-Pues a dónde quieres irte.
-Yo, señora, al camposanto.
Dichos
La muerte no mata a nadie...
la matadora es la suerte.
El que por su gusto muere
la muerte le sabe dulce.
¡Cómo que se murió si me debía!
Si me han de matar mañana...
que me maten de una vez.
Nunca se muere dos veces.
Hay más tiempo que vida.
"¡El muerto murio!"
comiéndose su telera;
los muchachos, de traviesos,
le gritamos "¡Calavera!"
Andale muerte canija
ponte tu rebozo y baila;
ya sé que quieres marearme
y esperas a que me caiga.
Si a tu balcón llegara
un tecolote
ráspale las narices
con un olote.
Hoy es día de todos santos
-dice un loco en sus tonteras-
son muchas las calaveras
y muy pocos camposantos.
Al pasar por el panteón
me salió una calavera:
tú me tocas el tambor
y yo muevo la cadera.
¿Quién me compra calaveras?
son de la nueva invención;
hay de bonitas y fieras
que han muerto ya de torzón;
son elegantes y finas,
a tlaco doy el montón
de las que usan crinolinas
y otras que doy de pilón.
¡Ay, triste calaverón!
ya no volará tu fama
porque te van a enterrar
el lunes por la mañana.
-Calavera vete al monte.
-No señora porque espanto.
-Pues a dónde quieres irte.
-Yo, señora, al camposanto.
Dichos
La muerte no mata a nadie...
la matadora es la suerte.
El que por su gusto muere
la muerte le sabe dulce.
¡Cómo que se murió si me debía!
Si me han de matar mañana...
que me maten de una vez.
Nunca se muere dos veces.
Hay más tiempo que vida.
"¡El muerto murio!"
CALAVERITAS
Estaba la Media Muerte
sentada en un carrizal
comiendo tortilla dura
para poder engordar.
Estaba la Muerte seca
sentada en un arenal
comiendo tortilla dura
y frijolitos sin sal,
sin sal, sin sal...
Ya te miré, calavera,
con un diente y una muela
saltando como una pulga
que tiene barriga llena.
Muerto, si hubieras corrido,
no te hubieran alcanzado;
pero como no corriste
ahora te llevan cargado.
sentada en un carrizal
comiendo tortilla dura
para poder engordar.
Estaba la Muerte seca
sentada en un arenal
comiendo tortilla dura
y frijolitos sin sal,
sin sal, sin sal...
Ya te miré, calavera,
con un diente y una muela
saltando como una pulga
que tiene barriga llena.
Muerto, si hubieras corrido,
no te hubieran alcanzado;
pero como no corriste
ahora te llevan cargado.
Las Calaveritas literarias y rimas
Las Calaveritas literarias y rimas sobre la muerte son epitafios que de manera graciosa nos hablan de personajes vivos a quienes dichas composiciones estan hechas con la intencion de criticarlos o simplemente resirse de ellos.There was Calaveritas reading at the day od the dead Cultural Community Event. last Oct 31St.
Por aqui paso la muerte
con su aguja y su dedal
remendando sus naguitas
para el dia del carnaval.
Un poco de historia del día de muertos:
"El dia de Muertos es una celebracion mexicana de origen prehispanico que honra a los difuntos el 1 y 2 de Noviembre, y coincide con las celebraciones catolicas del Dia de los Files Difuntos y Todos los Santos. Es una festividad mexicana y centroamericana, se celebra tambien en muchas comunidades de Estados Unidos, donde exite una gran poblacion mexicana y centroamericana. La Unesco ha declarado esta festividad como Patrimonio de la Humanida. El Dia de los Muertos es un dia festejado tambien en Brasil, como el Dia dos Finados.
Los origenes de la celebracion del Dia de Muertos en Mexico son anteriores a la llegada de los espanoles. Hay registro de celebraciones en las etnias Mexica, Paya, Purepecha, Nahuatl y Totonaca. Los rituales que celebran la vida de los ancestros se realizan en estas civilizaciones por lo menos desde hace tres mil anos. En la era prehispanica era comun la practica de conservar los craneos como trofeos y mostrarlos durante los rituales que simbolizan la muerte y el renacimiento.
La festividad que se convirtio en el Dia de Muertos era conmemorado el noveno mes del calendario solar mexica, cerca del inicio de agosto, y era celebrado durante un mes completo. Las festividades eran presididas por la diosa Mictecacihuatl, conocida como la "Dama de la Muerte" actualmente es relacionada con la Catrina, personaje de Jose Gudalupe Posada y esposa de Mictlantecuhtli, Senor de la tierra de los muertos. Las festividades eran dedicadas a la celebracion de los ninos y las vidas de parientes fallecidos.
Los origenes de la celebracion del Dia de Muertos en Mexico son anteriores a la llegada de los espanoles. Hay registro de celebraciones en las etnias Mexica, Paya, Purepecha, Nahuatl y Totonaca. Los rituales que celebran la vida de los ancestros se realizan en estas civilizaciones por lo menos desde hace tres mil anos. En la era prehispanica era comun la practica de conservar los craneos como trofeos y mostrarlos durante los rituales que simbolizan la muerte y el renacimiento.
La festividad que se convirtio en el Dia de Muertos era conmemorado el noveno mes del calendario solar mexica, cerca del inicio de agosto, y era celebrado durante un mes completo. Las festividades eran presididas por la diosa Mictecacihuatl, conocida como la "Dama de la Muerte" actualmente es relacionada con la Catrina, personaje de Jose Gudalupe Posada y esposa de Mictlantecuhtli, Senor de la tierra de los muertos. Las festividades eran dedicadas a la celebracion de los ninos y las vidas de parientes fallecidos.
Monday, November 2, 2009
Pan de Muerto: a special bread
Suzanne Guerra/From the Times-Standard
Posted: 10/28/2009 01:27:12 AM PDT
November brings the annual celebration of El Dia de Los Muertos (the Day of the Dead), a fusion of indigenous and European traditions in Mexico that is celebrated in other countries as the Catholic religious holidays of All Saints Day and All Souls Day.
The observance was re-established in the United States by Mexican immigrants who arrived during the Mexican Revolution, when the political art of Jose Guadalupe Posada became the most popular image of the event. It has retained political significance for many communities, where it may be expressed through cultural events as well as family gatherings.
The altares (altars) are a space set aside to celebrate the life of a loved one, and need not be large or elaborate. Ofrendas (offerings) on the altar include favorite foods, along with favorite photos and mementos. Families make an effort to provide special treats and often exchange special foods with visiting friends and neighbors. Indigenous celebrations lasted one month and traditional altars still incorporate the four elements: earth, air, fire and water.
Air moves the “papel picado,” brightly colored tissue papers with cut-out designs that cover the altar. Whether handmade or purchased, they typically include colors such as purple to express pain or grief, white for hope and pink or orange for the celebration of life.
Fire is the purifying element, and from Christianity come candles which are placed all over the altar to signify
faith and hope. On the top level of the altar, four candles are found at the cardinal points to illuminate the way for the dead, whose spirits are said to visit the living at this time of year.
Water is the fountain of life. A towel, soap and small bowl of water are put on the altar so that the returning spirits can freshen up after their long trip. There is fresh water to quench their thirst and a bottle of beer or tequila, atole or chocolate, to remember the good times.
Bread is the gift from the Earth, the food of life. The traditional Day of the Dead bread, Pan de Muerto, is a plain, round sweet bread sprinkled with sugar and a crisscrossed bone shape placed on top, or made in the shape of a person. Most families include a loved one's favorite foods or other treats on the altar. Visiting spirits consume the essence, and foods are traditionally shared with family, friends and visitors.
You can find Pan de Muerto and many varieties of Pan Dulce (Mexican sweet bread) at Mexican grocery stores and specialty bakeries such as Los Bagels.
Accompany Pan de Muerto and Pan Dulce with Mexican chocolate, made with spices and ground almonds, or café con canela -- coffee with cinnamon.
Here is a simple recipe for Pan de Muerto, which is also suitable for classroom use. You may also create smaller rolls to decorate with “bones” or make some golletes -- a small, doughnut-shaped bread glazed with pink-colored sugar, which symbolizes the cycle of life and death.
Set aside some dough to create decorations, or simply glaze after baking. When done, the bread will be lightly brown and sound hollow when tapped.
Dough may also be prepared ahead of time for baking later.
Pan de Muerto (Bread of the Dead)
For the bread:
-- 1/4-ounce packet active, dry yeast
-- 1 teaspoon sugar
-- 1/4 cup warm water
-- 1/4 cup milk
-- 2 teaspoons anise seeds
-- 1/4 cup butter, cut into pieces
-- 1/4 cup granulated sugar
-- 1/2 teaspoon orange extract (optional)
-- 2 tablespoons orange zest (grated orange peel)
-- 1/2 teaspoon salt
-- 2 eggs, room temperature
-- 2 1/2 cups all-purpose flour
For the glaze:
-- 1/4 cup sugar
-- Juice of 1/2 fresh orange
-- Colored sugar crystals for decoration
In a large mixing bowl, dissolve yeast and sugar in 1/4 cup warm water. Allow yeast to proof for 5 minutes (yeast will form a bubbly layer on top).
Meanwhile, scald milk and anise seeds in a small pan over medium-high heat. Add butter, 1/4 cup sugar, orange extract, zest and salt. Cook, stirring until butter melts, then remove from heat. Cool until lukewarm.
Beat eggs into yeast mixture. Add scalded milk mixture. Whisk until blended. Gradually stir in flour with a wooden spoon to make dough. Turn dough out onto a well-floured surface. Knead for 5 minutes, until it is smooth and pliable. Return dough to mixing bowl. Cover and set bowl in a warm place. Allow dough to rise until it doubles in size, about 1 1/2 hours.
Preheat oven to 350 F. Punch air out of dough and knead it again for a couple of minutes.
Pinch off about 1/2 cup of dough to form decorations. Form remaining dough into a round loaf on a cookie sheet. Arrange shapes on top of loaf.
Allow dough to rise again for 1 hour, then bake for approximately 35 minutes. (Reduce baking time for rolls.)
To prepare the glaze, combine sugar and orange juice in a saucepan over high heat. Bring to a boil and, stirring, reduce until mixture lightly thickens into a syrup.
Brush orange syrup over warm bread. Decorate with colored sugar crystals.
Makes 1 loaf or about 2 dozen small rolls.
Suzanne Guerra is a member of the Humboldt Communidad -- Dia de los Muertos Committee.
Suzanne Guerra/From the Times-Standard
Posted: 10/28/2009 01:27:12 AM PDT
November brings the annual celebration of El Dia de Los Muertos (the Day of the Dead), a fusion of indigenous and European traditions in Mexico that is celebrated in other countries as the Catholic religious holidays of All Saints Day and All Souls Day.
The observance was re-established in the United States by Mexican immigrants who arrived during the Mexican Revolution, when the political art of Jose Guadalupe Posada became the most popular image of the event. It has retained political significance for many communities, where it may be expressed through cultural events as well as family gatherings.
The altares (altars) are a space set aside to celebrate the life of a loved one, and need not be large or elaborate. Ofrendas (offerings) on the altar include favorite foods, along with favorite photos and mementos. Families make an effort to provide special treats and often exchange special foods with visiting friends and neighbors. Indigenous celebrations lasted one month and traditional altars still incorporate the four elements: earth, air, fire and water.
Air moves the “papel picado,” brightly colored tissue papers with cut-out designs that cover the altar. Whether handmade or purchased, they typically include colors such as purple to express pain or grief, white for hope and pink or orange for the celebration of life.
Fire is the purifying element, and from Christianity come candles which are placed all over the altar to signify
faith and hope. On the top level of the altar, four candles are found at the cardinal points to illuminate the way for the dead, whose spirits are said to visit the living at this time of year.
Water is the fountain of life. A towel, soap and small bowl of water are put on the altar so that the returning spirits can freshen up after their long trip. There is fresh water to quench their thirst and a bottle of beer or tequila, atole or chocolate, to remember the good times.
Bread is the gift from the Earth, the food of life. The traditional Day of the Dead bread, Pan de Muerto, is a plain, round sweet bread sprinkled with sugar and a crisscrossed bone shape placed on top, or made in the shape of a person. Most families include a loved one's favorite foods or other treats on the altar. Visiting spirits consume the essence, and foods are traditionally shared with family, friends and visitors.
You can find Pan de Muerto and many varieties of Pan Dulce (Mexican sweet bread) at Mexican grocery stores and specialty bakeries such as Los Bagels.
Accompany Pan de Muerto and Pan Dulce with Mexican chocolate, made with spices and ground almonds, or café con canela -- coffee with cinnamon.
Here is a simple recipe for Pan de Muerto, which is also suitable for classroom use. You may also create smaller rolls to decorate with “bones” or make some golletes -- a small, doughnut-shaped bread glazed with pink-colored sugar, which symbolizes the cycle of life and death.
Set aside some dough to create decorations, or simply glaze after baking. When done, the bread will be lightly brown and sound hollow when tapped.
Dough may also be prepared ahead of time for baking later.
Pan de Muerto (Bread of the Dead)
For the bread:
-- 1/4-ounce packet active, dry yeast
-- 1 teaspoon sugar
-- 1/4 cup warm water
-- 1/4 cup milk
-- 2 teaspoons anise seeds
-- 1/4 cup butter, cut into pieces
-- 1/4 cup granulated sugar
-- 1/2 teaspoon orange extract (optional)
-- 2 tablespoons orange zest (grated orange peel)
-- 1/2 teaspoon salt
-- 2 eggs, room temperature
-- 2 1/2 cups all-purpose flour
For the glaze:
-- 1/4 cup sugar
-- Juice of 1/2 fresh orange
-- Colored sugar crystals for decoration
In a large mixing bowl, dissolve yeast and sugar in 1/4 cup warm water. Allow yeast to proof for 5 minutes (yeast will form a bubbly layer on top).
Meanwhile, scald milk and anise seeds in a small pan over medium-high heat. Add butter, 1/4 cup sugar, orange extract, zest and salt. Cook, stirring until butter melts, then remove from heat. Cool until lukewarm.
Beat eggs into yeast mixture. Add scalded milk mixture. Whisk until blended. Gradually stir in flour with a wooden spoon to make dough. Turn dough out onto a well-floured surface. Knead for 5 minutes, until it is smooth and pliable. Return dough to mixing bowl. Cover and set bowl in a warm place. Allow dough to rise until it doubles in size, about 1 1/2 hours.
Preheat oven to 350 F. Punch air out of dough and knead it again for a couple of minutes.
Pinch off about 1/2 cup of dough to form decorations. Form remaining dough into a round loaf on a cookie sheet. Arrange shapes on top of loaf.
Allow dough to rise again for 1 hour, then bake for approximately 35 minutes. (Reduce baking time for rolls.)
To prepare the glaze, combine sugar and orange juice in a saucepan over high heat. Bring to a boil and, stirring, reduce until mixture lightly thickens into a syrup.
Brush orange syrup over warm bread. Decorate with colored sugar crystals.
Makes 1 loaf or about 2 dozen small rolls.
Suzanne Guerra is a member of the Humboldt Communidad -- Dia de los Muertos Committee.
Monday, October 26, 2009
“Dia de los muertos” Day of the dead Cultural Community Event. 2009
”Dia de los muertos” Day of the dead_
Cultural community event. Celebrating women in life.
Friday October 30Th 5pm-10pm
3 Offerings – altars
Exhibit representing Oaxaca
Community painting by artist: Santiago Pablo
Family altar by artist: Rosa Rojas
Face painting By artist: Gerardo Encinas
Sand carpet by artist: Maria Duque
7:00 PM Music by Flautist: "Rodolfo Vazquez"
8:00 PM “Day of the dead”: An Art Hosting Conversation
on the Prehispanic and traditional spiritual celebration and
meaning. What does this mean today in Columbus, Ohio?
Hosted by : Ruben Castilla Herrera.
Saturday October 31St 12:00- 10pm
3 Offerings - altars
Exhibit representing Oaxaca
Community painting by artist: Santiago Pablo
Family altar by artist: Rosa Rojas
Face painting By artist: Gerardo Encinas
Sand carpet by artist: Maria Duque
3:00 PM Projection Black & White Movie “El Vampiro”
(México 1957). Complimentary Pop corn.
5:00 PM Poetry reading by artist: Enrique Infante
6:00 PM Calaveritas reading, poems for day of the dead
7:30 PM Modern dance "La llorona" By: Iris Reategui
9:00 PM Closing ceremony
Food: Tamales, Atole and Bread "pan de muerto"
Thank you to The Black Creek Bistro for letting us used the Music Hall!
“Dia de los muertos” Day of the dead Cultural Community Event.
The believed that the death and the life constitute a unity. The conception of a new life in further on and life as a duality with death. Death as the step to a new life a cycle that never ends.
Where:
Music Hall 734 Oak St.
Columbus, Ohio 43205
When:
October 30Th 5pm-10pm
October 31St 12:00-10pm
Activities:
Offerings-altars
Calaveritas reading
Poetry reading
Music
Movie projection
An Art Hosting Conversation
Dance
Painting
Face paintingFood
Where:
Music Hall 734 Oak St.
Columbus, Ohio 43205
When:
October 30Th 5pm-10pm
October 31St 12:00-10pm
Activities:
Offerings-altars
Calaveritas reading
Poetry reading
Music
Movie projection
An Art Hosting Conversation
Dance
Painting
Face paintingFood
Movie "El Vampiro" 1957
German Robles (Count Lavud) and Carmen Montejo (Aunt Eloisa)
El Vampiro was clearly inspired by Universal's Dracula, although it is in almost every way a superior production. German Robles as Count Luvad is quite a commanding figure, and compares favorably with Christopher Lee in Hammer's HORROR OF DRACULA (released the year after El Vampiro). The film is set primarily in a crumbling hacienda, effectively punctuated with swirling mists and cobwebs. Throw in an eerie and occasionally surprising music score and some primitive but effective special effects and you've got a real winner.
Count Lavud is back!
1957: El Vampiro
El mes de mayo de 1957 Abel Salazar, que ya contaba con una extensa carrera en el cine mexicano, trató de extender su éxito a nuevos géneros, inspirándose en el éxito de la Universal Pictures en Hollywood. En su proyecto El Vampiro al principio pensó en el conocido actor Carlos López Moctezuma, para interpretar al conde Karol de Lavud, pero finalmente prefirió decantarse por un actor menos conocido para el público, eligiendo a Germán Robles (Gijón, 1929), hijo de exiliados españoles y que acababa de debutar en los escenarios mexicanos. La dirección quedó a cargo de Fernando Méndez.
El argumento de “El Vampiro” cuenta la historia de Marta (Ariadna Welter), una joven que regresa a la vieja hacienda de su familia, donde se encuentra enferma una de sus tías. Por el camino es acompañada por el joven doctor Enrique Saldívar (Abel Salazar), que ha sido llamado para atender a la enferma. Al llegar a la ruinosa hacienda la tía de Marta ha fallecido ya, y los residentes se encuentran afectados por la presencia del Conde Duval, de origen húngaro, un vampiro que pretende resucitar a su hermano, otro vampiro destruido tiempo atrás por los habitantes del lugar y cuyos restos se encuentran en el panteón familiar de Marta.
El Conde Duval (Karol de Lavud) es un vampiro alto y aristocrático, con elegante frac y capa y un esotérico medallón sobre su camisa, con un toque de ferocidad que en cierta manera lo sitúa en un lugar intermedio entre el Conde Drácula de Béla Lugosi y el de Christopher Lee. También es el primer vampiro cinematográfico que muestra colmillos, exceptuando los incisivos de roedor de Nosferatu y Drácula en Estambul (1953) del cine turco. En cierta manera la figura del Conde Duval parece la de un cacique colonial obsesionado por recuperar las tierras de sus antepasados ejerciendo la tiranía del terror sobre los nativos.
El Vampiro was clearly inspired by Universal's Dracula, although it is in almost every way a superior production. German Robles as Count Luvad is quite a commanding figure, and compares favorably with Christopher Lee in Hammer's HORROR OF DRACULA (released the year after El Vampiro). The film is set primarily in a crumbling hacienda, effectively punctuated with swirling mists and cobwebs. Throw in an eerie and occasionally surprising music score and some primitive but effective special effects and you've got a real winner.
Count Lavud is back!
1957: El Vampiro
El mes de mayo de 1957 Abel Salazar, que ya contaba con una extensa carrera en el cine mexicano, trató de extender su éxito a nuevos géneros, inspirándose en el éxito de la Universal Pictures en Hollywood. En su proyecto El Vampiro al principio pensó en el conocido actor Carlos López Moctezuma, para interpretar al conde Karol de Lavud, pero finalmente prefirió decantarse por un actor menos conocido para el público, eligiendo a Germán Robles (Gijón, 1929), hijo de exiliados españoles y que acababa de debutar en los escenarios mexicanos. La dirección quedó a cargo de Fernando Méndez.
El argumento de “El Vampiro” cuenta la historia de Marta (Ariadna Welter), una joven que regresa a la vieja hacienda de su familia, donde se encuentra enferma una de sus tías. Por el camino es acompañada por el joven doctor Enrique Saldívar (Abel Salazar), que ha sido llamado para atender a la enferma. Al llegar a la ruinosa hacienda la tía de Marta ha fallecido ya, y los residentes se encuentran afectados por la presencia del Conde Duval, de origen húngaro, un vampiro que pretende resucitar a su hermano, otro vampiro destruido tiempo atrás por los habitantes del lugar y cuyos restos se encuentran en el panteón familiar de Marta.
El Conde Duval (Karol de Lavud) es un vampiro alto y aristocrático, con elegante frac y capa y un esotérico medallón sobre su camisa, con un toque de ferocidad que en cierta manera lo sitúa en un lugar intermedio entre el Conde Drácula de Béla Lugosi y el de Christopher Lee. También es el primer vampiro cinematográfico que muestra colmillos, exceptuando los incisivos de roedor de Nosferatu y Drácula en Estambul (1953) del cine turco. En cierta manera la figura del Conde Duval parece la de un cacique colonial obsesionado por recuperar las tierras de sus antepasados ejerciendo la tiranía del terror sobre los nativos.
El Vampiro Mexico 1957
This weekend Saturday October 31st for the day of the dead
Where:
Music Hall 734 Oak St.
Columbus, Ohio 43205
3pm
Mexico's 1957's "El Vampiro" is considered the finest example of that country's horror output during their 50's-60's period, and this assessment is probably an accurate one. Primitive and austere, this film was made in a seemingly other age, bearing none of the trademarks of even the low budget offerings of America and other countries during that time (for instance, the inexpensively-filmed Roger Corman canon of the 50's). So if the viewer is looking for color, glitz and flash in the plotting or special effects, look elsewhere. But this is a vampire film, and as such the movie depends much more on mood and lighting to achieve its oftentimes potent chill. Much of director Fernando Mendez's vision takes place on the grounds of the fog-enshrouded decrepit mansion where heiress Marta (Ariadna Welter) has returned home to find haunted by the titular fiend, and an eerie, more dismal locale has rarely been realized by similar movies from ANY country. Producer Abel Salazar's Doctor Enrique who accompanies her to the mansion is a weak hero, prone to "comic relief" quips that ruin the mood of some of the character-expository scenes. But the lead vampires German Robles (Count Lavud) and Carmen Montejo (Aunt Eloisa) who menace Marta, Enrique and the rest of the household are both physically and emotively convincing, imbuing their sequences both together and when interacting with the endangered humans with pervading menace. Robles in particular is a marvel, giving (by far) his finest career horror performance, with evil intent dripping from his line readings, coupled with an almost-balletic malefic grace from his body movements, whether carrying the unconscious Marta through the corridors to his lair near the climax, or crouching slightly whenever transforming into a vampire bat. Robles also sports (close to) the longest fangs in vampire cinema history, adding to the frisson achieved by both his facial features and the expert lighting in the important scene of the Count victimizing Marta as she sleeps, arguably the greatest vampirizing sequence ever filmed.
Where:
Music Hall 734 Oak St.
Columbus, Ohio 43205
3pm
Mexico's 1957's "El Vampiro" is considered the finest example of that country's horror output during their 50's-60's period, and this assessment is probably an accurate one. Primitive and austere, this film was made in a seemingly other age, bearing none of the trademarks of even the low budget offerings of America and other countries during that time (for instance, the inexpensively-filmed Roger Corman canon of the 50's). So if the viewer is looking for color, glitz and flash in the plotting or special effects, look elsewhere. But this is a vampire film, and as such the movie depends much more on mood and lighting to achieve its oftentimes potent chill. Much of director Fernando Mendez's vision takes place on the grounds of the fog-enshrouded decrepit mansion where heiress Marta (Ariadna Welter) has returned home to find haunted by the titular fiend, and an eerie, more dismal locale has rarely been realized by similar movies from ANY country. Producer Abel Salazar's Doctor Enrique who accompanies her to the mansion is a weak hero, prone to "comic relief" quips that ruin the mood of some of the character-expository scenes. But the lead vampires German Robles (Count Lavud) and Carmen Montejo (Aunt Eloisa) who menace Marta, Enrique and the rest of the household are both physically and emotively convincing, imbuing their sequences both together and when interacting with the endangered humans with pervading menace. Robles in particular is a marvel, giving (by far) his finest career horror performance, with evil intent dripping from his line readings, coupled with an almost-balletic malefic grace from his body movements, whether carrying the unconscious Marta through the corridors to his lair near the climax, or crouching slightly whenever transforming into a vampire bat. Robles also sports (close to) the longest fangs in vampire cinema history, adding to the frisson achieved by both his facial features and the expert lighting in the important scene of the Count victimizing Marta as she sleeps, arguably the greatest vampirizing sequence ever filmed.
Monday, October 12, 2009
Come to Celebrate one more time "Dia de los Muertos" Day of the dead" Community Event.
By: Latino Arts for Humanity
This year celebrating one more time a cycle in our life. Our community is participating in setting offerings-altar. We will have an Art hosting Conversation on the Pre-Hispanic and traditional spiritual celebration and meaning. The conversation will focus on What does this mean today in Columbus OH. Please come and participate.
Where:
Music Hall
734 Oak St
Columbus OH 43205
When:
October 30Th 5pm - 10 pm
October 31St 12 noon -10pm
The meaning of Day of the dead Celebration is:
The conception of a new life in further on and life as a duality with death. Death as the step to a new life a cycle that never ends.
The indigenous tradition
The cult to dead in the pre-Hispanic towns is the conception of a new life in further on, in the region of the Gods, the life and the food: Ometecuhtli and Omecíhuatl, and of the idea to accompany there to the deceased with the necessary thing for that new life, presided over by Mictlantechuhtli and Mictecacíhuatl, Gods that lived in the Mictlán: place of dead.The members of those towns before removing a corpse from their house placed much food and flowers to them; after exhumer them they honored during four days, placing offerings to them twice a day.
The existence Life- Death
The existence in beyond said, was in agreement with the form of their death, not to the conduct observed in life, therefore it was not afraid to later punishments to the death, it did not exist hell like a torment site or the sin to fear God.After the decease, the old ones generally dressed to the dead in papers amate or maguey. They spilled water to him in the head saying to him, this is what you enjoyed in the life. If its death were related of some form to the water dressed it like Tláloc, God of rain. Jarro with water was placed to them to overcome the obstacles until arriving at its destiny. If they had been important personages they placed in the mouth a green stone to him called Chalchihuitl and if he had been common and current, they placed a stone to him of less value. They incinerated the corpse generally, the fire of the cremation was stoked at the same time that dismal songs were intoned, reduced the body to ashes was deposited in a mud pot and they buried it. Also they burned its properties and instruments of work. The burial became in the house, some temple or mounts. Offerings of food, drinks, and flowers in that place were placed.
The death like a dualidad with the life
In Mexico from time of the preclassic culture, ( 2.000 years A.C. ), just as the teotihuacanos, toltecas, Aztecs, huaxtecos, totonacas, otomíes, puréchas, mixtecos, zapotecos, Mayan, etcetera, they practiced the cult to the death and their rites were similar.
They conceived the death like a dualidad with the life and this we can appreciate it in diverse sculptures that exist at the present time, like skulls with emaciated half found in the city of Mexico and Oaxaca. In found even figures one incarnated and another skeletal one in the Huasteca. Representations with the single death and of the deities of the same one in all the archaeological zones.
The festividad of the day of deads of divides in two parts, the first day of all the saints celebrated 1 of November and the one of the day of deads of day 2 of November:
Day of All the Saints (1 of November) This day the celebration of all the saints is celebrated who thus had an exemplary life also of the late children.
Families are used to making altars to their dead children or within their houses or on the tablets in the cemeteries
The families spend long hours working in the altar, many of these altars are considered true works of arts, since they reflect the work, dedication and creativity of people to offer a good altar. Many forms exist to make dead altars, simplest it usually it makes much people within his houses since on a table covered with a table cloth a photography of the passed away person is put, and it adorns with flowers and some memories.
The people guard during the night in the tomb hoping that the spirit of his dead lowers and enjoys his offering.
This celebration is different in other places, for example in Oaxaca enormous carpets done of flowers throughout the main streets are made that represent a true artisan work of people, in other places ethnic groups make rites like their ancestors, to venerate to deads.
the Mexican towns managed to maintain its old traditions alive.
Day of All the Saints (1 of November) This day the celebration of all the saints is celebrated who thus had an exemplary life also of the late children.
Families are used to making altars to their dead children or within their houses or on the tablets in the cemeteries
The families spend long hours working in the altar, many of these altars are considered true works of arts, since they reflect the work, dedication and creativity of people to offer a good altar. Many forms exist to make dead altars, simplest it usually it makes much people within his houses since on a table covered with a table cloth a photography of the passed away person is put, and it adorns with flowers and some memories.
The people guard during the night in the tomb hoping that the spirit of his dead lowers and enjoys his offering.
This celebration is different in other places, for example in Oaxaca enormous carpets done of flowers throughout the main streets are made that represent a true artisan work of people, in other places ethnic groups make rites like their ancestors, to venerate to deads.
the Mexican towns managed to maintain its old traditions alive.
Un poco de historia del "dia de los muertos"
La fiesta de muertos está vinculada con el calendario agrícola prehispánico, porque es la única fiesta que se celebraba cuando iniciaba la recolección o cosecha.
Esta celebración conserva mucha de la influencia prehispánica del culto a los muertos, las encontramos en Tláhuac, Xochimilco y Mixquic, lugares cercanos a la ciudad de México.
Las culturas prehispánicas concibieron la muerte como una dualidad con la vida. Los Aztecas tenían dos fechas especiales para recordar a sus muertos: En el mes de agosto dedicado a MICCAILHUITONITLI o "muertecitos" y en noviembre la fiesta de los muertos grandes.
Dentro del calendario prehispánico de los grupos Nahuas del altiplano central, había por lo menos seis fiestas dedicadas a los muertos. Entre ellas dos eran las principales del 12 al 31 de julio en que se recordaba a los muertos chicos y los veinte días siguientes se celebraba la fiesta de los muertos grandes, que se caracterizaba la magnificencia de las ofrendas
Los evangelizadores cristianos para lograr sus objetivos se vieron en la necesidad de adoptar algunas tradiciones indígenas, mezcladas con sus enseñanzas y así darle una forma nueva y por supuesto, rica en tradición, asignaron una fecha fija dentro del calendario cristiano, primero y dos de noviembre.
La fiesta de muertos está vinculada con el calendario agrícola prehispánico, porque es la única fiesta que se celebraba cuando iniciaba la recolección o cosecha.
Esta celebración conserva mucha de la influencia prehispánica del culto a los muertos, las encontramos en Tláhuac, Xochimilco y Mixquic, lugares cercanos a la ciudad de México.
Las culturas prehispánicas concibieron la muerte como una dualidad con la vida. Los Aztecas tenían dos fechas especiales para recordar a sus muertos: En el mes de agosto dedicado a MICCAILHUITONITLI o "muertecitos" y en noviembre la fiesta de los muertos grandes.
Dentro del calendario prehispánico de los grupos Nahuas del altiplano central, había por lo menos seis fiestas dedicadas a los muertos. Entre ellas dos eran las principales del 12 al 31 de julio en que se recordaba a los muertos chicos y los veinte días siguientes se celebraba la fiesta de los muertos grandes, que se caracterizaba la magnificencia de las ofrendas
Los evangelizadores cristianos para lograr sus objetivos se vieron en la necesidad de adoptar algunas tradiciones indígenas, mezcladas con sus enseñanzas y así darle una forma nueva y por supuesto, rica en tradición, asignaron una fecha fija dentro del calendario cristiano, primero y dos de noviembre.
Day of the Dead - Beliefs and Customs
Rituals celebrating the lives of deceased ancestors had been performed by these Mesoamerican civilizations for at least 3,000 years. It was common practice to keep skulls as trophies and display them during rituals to symbolize death and rebirth. The festival which was to become Día de Muertos fell on the ninth month of the Aztec Solar Calendar, near the start of August, and was celebrated for the entire month.
Rituals celebrating the lives of deceased ancestors had been performed by these Mesoamerican civilizations for at least 3,000 years. It was common practice to keep skulls as trophies and display them during rituals to symbolize death and rebirth. The festival which was to become Día de Muertos fell on the ninth month of the Aztec Solar Calendar, near the start of August, and was celebrated for the entire month.
Migrations Histories Exhibit
Presented at Nationwide
Building three Main Lobby.
Celebrating Hispanic Heritage Month
Latino Migration Story
Tuesday, Oct. 13. ISSUE:Spring
Latino Migration StoryOpportunities to Serve Latinos in Columbus:Beyond the Walls of OSU
By Nicole DeGreg
The Latino Migration Story Project, which opened with an art show and reception on the evening of Tuesday, April 9, has been established to increase awareness in the general community about the numbers and background of Latinos currently residing in Ohio. This project has collected the histories of various migration patterns throughout Ohio, as well as the stories of the struggles, survival, and success of these migrants. The speakers for the evening included Raquel Diaz-Sprague, Director of La Clinica Latina, who gave a moving account of her transition from Peru to the U.S., and Luz Calvo, Ph.D., a professor in the Latino Studies Program, as well as several others quoted below.
By Nicole DeGreg
The Latino Migration Story Project, which opened with an art show and reception on the evening of Tuesday, April 9, has been established to increase awareness in the general community about the numbers and background of Latinos currently residing in Ohio. This project has collected the histories of various migration patterns throughout Ohio, as well as the stories of the struggles, survival, and success of these migrants. The speakers for the evening included Raquel Diaz-Sprague, Director of La Clinica Latina, who gave a moving account of her transition from Peru to the U.S., and Luz Calvo, Ph.D., a professor in the Latino Studies Program, as well as several others quoted below.
“This is an ongoing project… We intend to keep developing it…We need to step up and make a difference. If you see a hole, step up and fill it…”Rosie Rojas, program coordinator
“It can’t just be about diversity… our aspiration should be to be a community and come together… In a genuine community…everybody’s story counts, everybody’s story ought to be told and everybody should listen…”-Ed Ray, Provost and Senior Vice President of Academic Affairs
“Our mission is innovation… and we’re delighted to support this…” -Donna Alvarado, representative of the Lindorf FamilyFoundation and Jefferson Center for the Arts, donor of grant monies for the project Hopefully, this project will open the eyes of the University and Columbus community to the stories, struggles and triumphs of the many Latino migrants living in Ohio today. The exhibit can currently be viewed in the Multicultural Center on the fourth floor of the Ohio Union and will be displayed at the OSU Newark campus in August.
Several of the stories were displayed to be read at the opening.
Wednesday, April 15, 2009
Dia de los Muertos Presented by Latino Arts for Humanity
November 2008, The CAP at Union Station.
En este mundo matraca
De morir nadie se escapa.
Muere el buey, muere la vaca,
Y hasta la mujer más guapa tiene que estirar la pata.
Viene la muerte luciendo
mil llamativos colores
ven, dame un beso, pelona
que ando huérfano de amores.
Se va la muerte cantando
por entre la nopalera,
¿En que quedamos, pelona,
me llevas o no me llevas?...
De morir nadie se escapa.
Muere el buey, muere la vaca,
Y hasta la mujer más guapa tiene que estirar la pata.
Viene la muerte luciendo
mil llamativos colores
ven, dame un beso, pelona
que ando huérfano de amores.
Se va la muerte cantando
por entre la nopalera,
¿En que quedamos, pelona,
me llevas o no me llevas?...
Day of Death is a holiday with a complex history. Therefore It is important to explain and share our knowledge with others, to celebrate and understand it better.
We would like to thank Rodolfo Vazquez
Making a mixture of the Prehispanic cults and the Christian religion, Mexicans say the death is not the natural end of the life; it is the process of an infinite cycle. Life, death and resurrection are the stadiums of the process in the Christian religion, in accordance with the Prehispanic concept of the death, the sacrifice of the death- the act of die- is the consent to accept the process creator that gives us the life. The body dies and the spirit is given to the Gods. But the Christianity modifies the sacrifice of the death. The death and the salvation become an individual process, for the Christians the person is the one who count. The beliefs unite again as soon as the life is only justified and transcends in the sacrifice of death.
In Mexico more than a Christian festivity it is a celebration where we mix so much the pre-Hispanic culture as the catholic religion, where the Mexican town managed to maintain its old traditions alive.
The celebration of the Day of the Dead is linked to the Agricultural calendar from the Prehispanic ancient; because this is the celebration when they started the harvest, Mexicans also thank the earth for their food and start a time to allow the earth to rest during winter.
Many thanks to:
Nancy Pyon, Guadalaupe Velasquez, Angela Morales, Elizabeth,Patrick Smith, Chad Chadwick, Rodolfo Vazquez, La Oaxaquena store and Fronteras de la Noticia for their support to help me set the exhibit and for believe in the festivity and tradition of the Day of the dead.
Leticia Vazquez.
Dia de los Muertos, Presented at The Cap for Gallery Hope November 2008
poema del rey y poeta Netzahualcóyotl (1391-1472):
Somos mortales /
todos habremos de irnos, /
todos habremos de morir en la tierra... /
Como una pintura, /
todos nos iremos borrando. /
Como una flor, /
nos iremos secando /
aquí sobre la tierra... /
Meditarlo, señores águilas y tigres, /
aunque fueras de jade, /
aunque fueras de oro, /
también allá iras /
al lugar de los descansos. /
Tendremos que despertar, /
nadie habrá de quedar.
king and poet, Netzahualcóyotl (1391-1472). He wrote:
"we are humans /
all will go on, /
all will be die in the earth. /
Like a painting, /
all will go erasing. /
Like a flower, /
we will go to drying /
here on the earth. /
Meditate it, men eagles and tigers, /
although you are from jade, /
although you are golden, /
also you will go on /
to the place of the rests. /
We have to wake up, /
nobody will be remaining."
poema del rey y poeta Netzahualcóyotl (1391-1472):
Somos mortales /
todos habremos de irnos, /
todos habremos de morir en la tierra... /
Como una pintura, /
todos nos iremos borrando. /
Como una flor, /
nos iremos secando /
aquí sobre la tierra... /
Meditarlo, señores águilas y tigres, /
aunque fueras de jade, /
aunque fueras de oro, /
también allá iras /
al lugar de los descansos. /
Tendremos que despertar, /
nadie habrá de quedar.
king and poet, Netzahualcóyotl (1391-1472). He wrote:
"we are humans /
all will go on, /
all will be die in the earth. /
Like a painting, /
all will go erasing. /
Like a flower, /
we will go to drying /
here on the earth. /
Meditate it, men eagles and tigers, /
although you are from jade, /
although you are golden, /
also you will go on /
to the place of the rests. /
We have to wake up, /
nobody will be remaining."
Thursday, April 9, 2009
Vive Amarillo Exhibition and artist information.
Place Black Creek Bistro
51 Parson Avenue
PH 614-246-9662
http://www.blackcreekbistro.com/
Exhibit opening on Sunday September 14Th from 6pm -8pm
exhibit will be at place until November 2nd 2008.
51 Parson Avenue
PH 614-246-9662
http://www.blackcreekbistro.com/
Exhibit opening on Sunday September 14Th from 6pm -8pm
exhibit will be at place until November 2nd 2008.
Phillipe Jacinto Velazquezhttp://www.velazquezart.com/
boy with fruit basket
boy with fruit basket
Asian womangirl with pearl earring
spandard/ Juan de pajea
Latina woman blue Latina
Juan Miranda
Photography
Leonardo Carrizo
Photography
Photography
Leonardo Carrizo
Photography
Latino arts for humanity. Presented an Exhibit during the Gallery hop last October 4Th 2008 (Columbus-Short North)The exhibit was a celebration for the Hispanic Heritage month 2008. Paintings from artist: Santiago Pablo From Oaxaca, Mexico & Bruno Casiano from Ecuador. http://www.brunocasiano.com/
thank you!
thank you!
" Vive Amarrillo"
September 2008. Latino Arts for Humanity.Exhibit: "Vive Amarillo" September 14th- November 2nd 2008.
Opening September 14Th, 2008.
at Black Creek Bistro for the Hispanic Heritage Month.
Food services free offered by Chef:
Vive Amarillo was a great exhibit full of diversity from Picture, Collage-texture to Poetry. Participants: Juan Miranda, Alex Copley, Leonardo Carrizo, Leticia Vazquez, Jessica Alcalde & Phillipe Jacinto Velazquez
Alex Copley
Leonardo Carrizo
Alex Copley
Leticia Vazquez-Smith
Juan Miranda
We would like to thank Enrique Infante From DEJAVU for the volunteer performance that was present as a part of our exhibit VIVE AMARILLO to commemorate our Hispanic Heritage Month last September 14TH, 2008 at the “Black Creek Bistro”, Columbus OH.
September 2008. Latino Arts for Humanity.Exhibit: "Vive Amarillo" September 14th- November 2nd 2008.
Opening September 14Th, 2008.
at Black Creek Bistro for the Hispanic Heritage Month.
Food services free offered by Chef:
Vive Amarillo was a great exhibit full of diversity from Picture, Collage-texture to Poetry. Participants: Juan Miranda, Alex Copley, Leonardo Carrizo, Leticia Vazquez, Jessica Alcalde & Phillipe Jacinto Velazquez
Alex Copley
Leonardo Carrizo
Alex Copley
Leticia Vazquez-Smith
Juan Miranda
We would like to thank Enrique Infante From DEJAVU for the volunteer performance that was present as a part of our exhibit VIVE AMARILLO to commemorate our Hispanic Heritage Month last September 14TH, 2008 at the “Black Creek Bistro”, Columbus OH.
Great day! We were able to feed, mind, spirit and of course we have great food.
Good people, good friends!
Subscribe to:
Posts (Atom)
