Виктория Санта -Крус
Виктория Санта -Крус | |
|---|---|
 Портрет Виктории Санта -Крус | |
| Рожденный | 27 октября 1922 г. |
| Умер | 30 августа 2014 г. (в возрасте 91 года) |
| Оккупация | Хореограф, композитор, активист |
Виктория Евгения Санта -Крус Гамарра (27 октября 1922 г. - 30 августа 2014 г.) [ 1 ] был афроперовским хореографом, композитором и активистом.
Виктория Санта -Крус будет называться «Мать афро -перуанского танца и театра». [ 2 ] Вместе со своим братом, Никомедес Санта-Крус , она считается значительным в возрождении афроперианской культуры в 1960-х и 1970-х годах. Они оба пришли из длинной линии художников и интеллектуалов. Со своей стороны, она, как говорят, оказала влияние « афроцентризм » в ее взгляде на танец, пытаясь открыть «наследственную память» африканских форм. Она помогла основать компанию Cumanana . [ 3 ]
Ранний период жизни
[ редактировать ]Санта -Крус родился восьмым от десяти детей в Лиме , Перу. [ 4 ] Ее отцом был Necomedes Santa Cruz Aparicio, а ее мать была Виктория Гамара. Ее мать говорила только по -испански и любила танцевать. [ 5 ] Ее младший брат Никомедс Санта -Крус стал известным поэтом, с которым она часто выступала. [ 6 ]
В раннем возрасте Виктория Санта -Крус была представлена в изобразительном искусстве, приехав из семьи, полного чернокожих артистов и музыкантов. Одним из ее самых ранних влияний были ее родители, которых она впервые узнала об афроперовском танцах (маринера и других танцах Criollo), а также о поэзии и музыке. [ 7 ] Это в начале воздействия на изобразительное искусство привело Викторию Санта -Крус создать и участвовать в таких мюзиклах, как Малато , [ 8 ] что впоследствии воплотит одну из ее целей на всю жизнь в «самоуверенном состоянии и восстановлении культуры на основе внутреннего ритма и того, что она назвала наследственной памятью». [ 9 ] Благодаря этой цели Виктория стремилась «пробудить черное сознание и гордость» в афроперианской культуре. [ 7 ] Ее страсть к танцу и музыкальной композиции будет продолжать влиять на нее на протяжении всей ее жизни, когда она продолжала учиться в Париже.
In an interview with Marcus D. Jones, Santa Cruz describes this moment in her childhood where she first experiences "sufferance."[10] In this scene, she describes how her friends rejected her because of her African features. At the age of five when she was with her group of friends, a new blonde and white girl in her neighborhood told them: “If the black girl wants to play with us, I’ll go”. She makes a direct reference to this in her famous poem, Me gritaron negra.[11] Out of this experience, the artist begins her long-lived exploration of self and recuperation. In this same interview, the artist demonstrates some of the internal dialogue that prompts her desire for self-discovery from a very young age, asking "What am I doing? What is to be black? What is to be white?"[10] In addition to this, Santa Cruz was quoted as saying "obstacles play an important role" in regards to the racism she experienced in her lifetime.[6]
Career
[edit]Santa Cruz founded Cumanana, a theater company, Nicomedes in 1958 and co-managed it until 1961.[4] In 1966, Victoria Santa Cruz founded the group Teatro y Danzas del Perú,[12] which were group performances led by Cruz and other prominent Afro-Peruvian dancers that played a role in reclaiming lost heritages. Traditional, cultural, music played in the background as the dancers performed their pieces individually and as a group. The importance of these performances highlights the "recovery, creation, and recreation" of dying rhythms such as "the zamacueca, the landau and the alcatraz".[13] Her artistic career as a performer, choreographer, and composer took her to new heights like being televised on Peruvian Television and being visited on her international tours. But the biggest international milestone was perhaps the group's performance at the 1968 Olympics in Mexico City.[7] Recreations of such lost rhythms earned her a position amongst the Revolutionary Government of the Peruvian Military. Cruz was "appointed director of the newly established Escuela Nacional de Folklore" in 1969 and director of "the Conjunto Nacional de Folklore" in 1973.[14] She continued touring with the group through big nations like the United States, Canada, and Western Europe.[7]
Other accomplishments include her publication of the magazine Folklore, in which she describes the Conjunto's goal to "compile, preserve, research, and disseminate national folklore in the form of dance, music, songs, and musical instruments",[15] and her position as a professor at Carnegie Mellon University (1982-1999).[7]
Education
[edit]Victoria Santa Cruz first attended the Université du Théâtre des Nations École Supérieur des Études Chorégraphiques at the age of 42 (1961-1965), where she studied theater and choreography "with such distinguished professors as the actor Jean-Louis Barrault, the playwright Eugène Ionesco, and the choreographer Maurice Béjart."[7] While studying at the university in Paris, Cruz continued to demonstrate her interest to reclaim the loss of her cultural and ancestral memory by visiting Africa for the first time and creating the ballet La muñeca negra (The black doll, 1965)[4]
Artworks and performances
[edit]Malato (1961) - Musical/Play
Malato is a three act musical which showcased the relationship between the enslaved and their oppressor that was removed from the Pervian history of slavery. The play was written, choreographed, and staged by Santa Cruz.[16]
Cumanana (1970) - song
Cumanana (Kumanana) [1970] is the name of one of her more prominent songs because it evokes her past in the band with her brother Nicomedes. The term, as described by Victoria Santa Cruz, means "mix of Spanish and black things," which makes reference to her identity.
Me gritaron negra (1978) - poem/spoken word
She is known for her visual, lyrical poem Me gritaron negra (They Shouted Black At Me), show cased in the exhibition Radical Women: Latin American Art, 1960-1985 and at the Brooklyn Museum.[11] This piece became prominent because of its social commentary on race, racism, and prejudice amongst the Latino community in regards to Afro-Peruvians.
The artist is also known for these lyrical and rhythmic performances/recreations:
La Magia del Ritmo (2004) - theater/play/musical performance
La Magia del Ritmo is a performance and rhythmic song presented by Victoria Santa Cruz in 2004, as part of the Peruvian Japanese theatric play. The artist's intent was to create a lively experience and connection amongst listeners/viewers by infusing theatrics with cultural and rhythmic music.
Ritmo, El Eternal Organizador (2004) - Book
The only book published by Santa Cruz and edited by Luis Rodriguez Pastor. This book reflected her personal views and gave a detailed understanding into her outlook on life.[17][16]
Pa' Goza Con el Ritmo del Tambo (2014) - song
Pa' Goza Con el Ritmo del Tambo is another rhythmic, cultural song by the artist that highlights the pride of being Afro-Peruvian while showing appreciation towards el Tambo. This song is from her album Somos de Ébano y No de Marfíl published in 2014.
Las Lavanderas (2015) - song
Las Lavanderas is rhythmic and cultural song from her album Victoria Santa Cruz y Gente Morena released in 2015 as part of a collective. This song reveals some of the social commentaries around Afro-Peruvians that Victoria recognizes as struggles for many Afro-Latinos. In the song, dialogue includes an exchange between two individuals pointing out the neighborhood's Afro-Peruvian woman, calling her “Negra sucia” and “Negra idiota” which translates into dirty and idiot.
La Buñolera (2016) - song
La Buñolera is another example of the artist's taken pride for her identity as an Afro-Peruvian woman. This song is specifically geared towards "Afro Peruvanas," Afro-Peruvian women
Exhibitions
[edit]- Radical Women: Latin American Art, 1960-1985[18]
- Brooklyn Museum: Radical Women: Latin American Art, 1960-1985[19]
- Primer Festival y Seminario Latinoamericano de Televisión in 1970[20]
- Cali Festival, 1971[20]
Collections
[edit]Many of the artist's pieces were original or remade songs that now live as collections in CD's or online-accessible music. Access to her musical collections can be streamed through major platforms like Spotify, Apple Music, and Amazon. Her collections include:
- Poemas y Pregones Afro Peruanos (released) April 2, 2013) and includes her famous poem Me Gritaron Negra.
- Con Victoria Santa Cruz y Gente Morena (released October 2, 2015), includes her song Las Lavanderas.
- Victoria Santa Cruz: Orgullosa Afro Peruana (released May 11, 2016) and includes her biggest hits like Cumanana, La Buñolera, and Pa' Goza Con el Ritmo del Tambo.
Awards and honors
[edit]- She received a scholarship by the French government and traveled to Paris to study choreography. Here, she succeeded as the creator and designer of the wardrobe for the play El Retablo de Don Cristóbal by Federico García Lorca.
- Best Folklorist, 1970[20]
- Appointed Director of the National Folklore Ensemble of the National Institute of Culture in 1973[20]
Death
[edit]In her last interview, Victoria Santa Cruz responds to the question "what has racism taught you?" by stating "in a little while, I will leave this life... and I want to leave in peace, with my conscience clean, and we'll see what happens here. But everything is weakened, dislocated in the entire world. And everyone is losing because really, this is not how you fight."[21]
She died on August 30, 2014, in Lima, Peru.
References
[edit]- ^ Obituary in El Comercio
- ^ SFIAF
- ^ Heidi Carolyn Feldman (2006). Black Rhythms of Peru: Reviving African Musical Heritage in the Black Pacific. Wesleyan University Press. pp. 49–62. ISBN 978-0-8195-6814-4.
- ^ Jump up to: a b c Feldman, Heidi Carolyn (2006). Black Rhythms of Peru: Reviving African Musical Heritage in the Black Pacific. Wesleyan University Press. ISBN 9780819568144.
- ^ "An Interview with Victoria Santa Cruz" From "Callaloo" Volume 34, Number 2, Spring 2011 via Project Muse
- ^ Jump up to: a b Santa Cruz, Nicomedes (2011). "Ritmos Negros del Peru". Callaloo. 34 (2): 481–482. doi:10.1353/cal.2011.0120. ISSN 1080-6512. S2CID 201794145.
- ^ Jump up to: a b c d e f "Radical Women: Latin American Art, 1960–1985 - Hammer Museum". The Hammer Museum. Retrieved 2019-02-04.
- ^ Feldman, Heidi (2006). Black Rhythms of Peru: Reviving African Musical Heritage in the Black Pacific. Wesleyan University Press. ISBN 9780819568151.
- ^ Santa Cruz, José (July 2011). "El rostro cinematográfico" (PDF). Aisthesis (49): 131–144. doi:10.4067/s0718-71812011000100008. ISSN 0718-7181.
- ^ Jump up to: a b Jones, Marcus D., et al. “AN INTERVIEW WITH VICTORIA SANTA CRUZ.” Callaloo, vol. 34, no. 2, 2021, pp. 304–308. JSTOR, www.jstor.org/stable/41243069.
- ^ Jump up to: a b "Me gritaron negra (They shouted black at me) | Hammer Museum". hammer.ucla.edu. Retrieved 2020-04-29.
- ^ Lalitocy, театральное образование и черные танцы Виктории Санта-Крус , полученные 2019-02-04
- ^ «Это был дебют театра и черных танцев Перу из Виктории Санта -Крус » . Rocolaperuana.lamula.pe (по -испански) . Получено 2019-02-04 .
- ^ «Виктория Санта -Крус умерла, эмблема афроперианской культуры » . laprese.peru.com (на испанском). 2014-08-30 . Получено 2019-02-04 .
- ^ Фельдман, Хайди Кэролин (2006). Черные ритмы Перу: возрождение африканского музыкального наследия в чернокожих . Уэслианская университетская издательство. ISBN 9780819568144 .
- ^ Jump up to: а беременный Feldman, Heidi Carolyn (2016-06-01), «Санта-Крус Гамарра, Виктория», Санта-Крус Гамарра, Виктория , Центр афроамериканских исследований , издательство Оксфордского университета, DOI : 10.1093/ACREF/9780195301731.03.750, ISBN/9780195301731.013.750 , ISBN /9780195301731.013. 978-0-19-530173-1
- ^ «Помощь, индикаторы торговли и развития, связанные с Перу». Помощь в торговле в синтезе 2015 . Париж: OECD Publishing. 2017. с. 404. doi : 10.1787/help_sintesis-2015-59-es .
- ^ «Проблемы ожидания у радикальных женщин - музей молотка» . Музей молотка . Получено 2019-02-27 .
- ^ «Бруклинский музей: радикальные женщины: латиноамериканское искусство, 1960–1985» . www.brooklynmuseum.org . Получено 2019-02-27 .
- ^ Jump up to: а беременный в дюймовый Elcomercio.pe, Drafting (2014-08-30). «Виктория Санта -Крус, герой перуанского черного искусства » . Коммерция (на испанском) . Получено 2019-02-27 .
- ^ Джонс, М., Каррильо и Круз, В. (2011). Интервью с Викторией Санта -Крус. Callaloo, 34 (2), 304-3 из JSTOR Получено
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