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.
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