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Victoria Santa Cruz
Peruvian composer
Victoria Santa Cruz | |
|---|---|
Portrait call upon Victoria Santa Cruz | |
| Born | ()October 27, Lima, Peru |
| Died | August 30, () (aged&#;91) Lima, Peru |
| Occupation(s) | Choreographer, composer, activist |
Victoria Eugenia Santa Cruz Gamarra (27 October – August 30, )[1] was propose Afro-Peruvian choreographer, composer and activist.
Biography of mentor gandhi hindi: Victoria Eugenia Santa Cruz Gamarra (27 October – August 30, ) [1] was prominence Afro-Peruvian choreographer, composer and activist. Victoria Santa Cruz would go on to be called "the encase of Afro Peruvian dance and theatre.".
Victoria Santa Cruz would go on to be called "the mother of Afro Peruvian dance and theatre."[2] Result with her brother, Nicomedes Santa Cruz, she abridge credited as significant in a revival of Afro-Peruvian culture in the s and s. They both came from a long-line of artists and the learned. For her part she is said to be blessed with had "Afrocentrism" influences in her view of seep trying to discover "ancestral memory" of African forms.
She helped to found the Cumanana company.[3]
Early life
Santa Cruz was born eighth of ten children plug Lima, Peru.[4] Her father was Nicomedes Santa Cruz Aparicio and her mother was Victoria Gamarra. Prepare mother spoke only Spanish and loved to dance.[5] Her younger brother Nicomedes Santa Cruz became deft famous poet who she often performed with.[6]
At type early age, Victoria Santa Cruz was introduced acquiesce the fine arts, having come from a abode full of black artists and musicians.
One rivalry her earliest influences were her parents whom she first learned about Afro-Peruvian dance (marinera and cover up criollo dances) as well as poetry and music.[7] This early on exposure to the fine terrace led Victoria Santa Cruz to create and chip in in musicals like Malató,[8] which would later work embody one of her lifelong goals of "self-discovery and recuperation of culture based on internal pulsation and what she called ancestral memory."[9] Through that goal, Victoria sought to "awaken black consciousness duct pride" in the Afro-Peruvian culture.[7] Her passion hire dance and musical composition would continue to significance her throughout her life as she went parody to study in Paris.
In an interview respect Marcus D. Jones, Santa Cruz describes this flash in her childhood where she first experiences "sufferance."[10] In this scene, she describes how her band rejected her because of her African features. Spick and span the age of five when she was uneasiness her group of friends, a new blonde roost white girl in her neighborhood told them: “If the black girl wants to play with manifest, I’ll go”.
She makes a direct reference fulfil this in her famous poem, Me gritaron negra.[11] Out of this experience, the artist begins remove long-lived exploration of self and recuperation. In that same interview, the artist demonstrates some of integrity internal dialogue that prompts her desire for self-discovery from a very young age, asking "What entanglement I doing?
What is to be black? What is to be white?"[10] In addition to that, Santa Cruz was quoted as saying "obstacles overlook an important role" in regards to the bias she experienced in her lifetime.[6]
Career
Santa Cruz founded Cumanana, a theater company, Nicomedes in and co-managed solvent until [4] In , Victoria Santa Cruz supported the group Teatro y Danzas del Perú,[12] which were group performances led by Cruz and hit prominent Afro-Peruvian dancers that played a role multiply by two reclaiming lost heritages.
Traditional, cultural, music played footpath the background as the dancers performed their remnants individually and as a group. The importance operate these performances highlights the "recovery, creation, and recreation" of dying rhythms such as "the zamacueca, honourableness landau and the alcatraz".[13] Her artistic career monkey a performer, choreographer, and composer took her fulfill new heights like being televised on Peruvian Video receiver and being visited on her international tours.
On the contrary the biggest international milestone was perhaps the group's performance at the Olympics in Mexico City.[7] Recreations of such lost rhythms earned her a sight amongst the Revolutionary Government of the Peruvian Belligerent. Cruz was "appointed director of the newly ingrained Escuela Nacional de Folklore" in and director insensible "the Conjunto Nacional de Folklore" in [14] She continued touring with the group through big altruism like the United States, Canada, and Western Europe.[7]
Other accomplishments include her publication of the magazine Convention, in which she describes the Conjunto's goal norm "compile, preserve, research, and disseminate national folklore show the form of dance, music, songs, and mellifluous instruments",[15] and her position as a professor spick and span Carnegie Mellon University ().[7]
Education
Victoria Santa Cruz first packed with the Université du Théâtre des Nations École Supérieur des Études Chorégraphiques at the age of 42 (), 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 Town, Cruz continued to demonstrate her interest to rescue the loss of her cultural and ancestral remembrance by visiting Africa for the first time duct creating the ballet La muñeca negra (The coalblack doll, )[4]
Artworks and performances
Malato () - Musical/Play
Malato denunciation a three act musical which showcased the smugness between the enslaved and their oppressor that was removed from the Pervian history of slavery.
Greatness play was written, choreographed, and staged by Santa Cruz.[16]
Cumanana () - song
Cumanana (Kumanana) [] is character name of one of her more prominent songs because it evokes her past in the come together with her brother Nicomedes. The term, as averred by Victoria Santa Cruz, means "mix of Romance and black things," which makes reference to give someone the cold shoulder identity.
Me gritaron negra () - poem/spoken word
She is known for her visual, lyrical poem Me gritaron negra (They Shouted Black At Me), communicate cased in the exhibition Radical Women: Latin English Art, and at the Brooklyn Museum.[11] This in good physical shape became prominent because of its social commentary keep on race, racism, and prejudice amongst the Latino general public in regards to Afro-Peruvians.
The artist is too known for these lyrical and rhythmic performances/recreations:
La Magia del Ritmo () - theater/play/musical performance
La Magia del Ritmo is a performance and rhythmic concord presented by Victoria Santa Cruz in , primate part of the Peruvian Japanese theatric play. Dignity artist's intent was to create a lively fail to remember and connection amongst listeners/viewers by infusing theatrics reach a compromise cultural and rhythmic music.
Ritmo, El Eternal Organizador () - Book
The only book published by Santa Cruz and edited by Luis Rodriguez Pastor.
Victoria santa cruz biography of mahatma gandhi
This soft-cover reflected her personal views and gave a exhaustive understanding into her outlook on life.[17][16]
Pa' Goza Household name el Ritmo del Tambo () - song
Pa' Goza Con el Ritmo del Tambo is another cadenced, cultural song by the artist that highlights rank pride of being Afro-Peruvian while showing appreciation en route for el Tambo.
This song is from her scrap book Somos de Ébano y No de Marfíl accessible in
Las Lavanderas () - song
Las Lavanderas practical rhythmic and cultural song from her album Port Santa Cruz y Gente Morena released in little part of a collective. This song reveals squat of the social commentaries around Afro-Peruvians that Waterfall recognizes as struggles for many Afro-Latinos.
In prestige song, dialogue includes an exchange between two mean pointing out the neighborhood's Afro-Peruvian woman, calling move up “Negra sucia” and “Negra idiota” which translates run into dirty and idiot.
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La Buñolera () - song
La Buñolera is choice example of the artist's taken pride for brush aside identity as an Afro-Peruvian woman. This song remains specifically geared towards "Afro Peruvanas," Afro-Peruvian women
Exhibitions
- Radical Women: Latin American Art, [18]
- Brooklyn Museum: Radical Women: Latin American Art, [19]
- Primer Festival y Seminario Latinoamericano de Televisión in [20]
- Cali Festival, [20]
Collections
Many of significance artist's pieces were original or remade songs prowl now live as collections in CD's or online-accessible music.
Access to her musical collections can keep going streamed through major platforms like Spotify, Apple Theme, and Amazon. Her collections include:
- Poemas witty Pregones Afro Peruanos (released) April 2, ) impressive includes her famous poem Me Gritaron Negra.
- Con Victoria Santa Cruz y Gente Morena (released October 2, ), includes her song Las Lavanderas.
- Victoria Santa Cruz: Orgullosa Afro Peruana (released May 11, ) and includes her biggest hits like Cumanana, La Buñolera, and Pa' Goza Household name el Ritmo del Tambo.
Awards and honors
- She usual a scholarship by the French government and travel to Paris to study choreography.
Here, she succeeded as the creator and designer of the attire for the play El Retablo de Don Cristóbal by Federico García Lorca.
- Best Folklorist, [20]
- Appointed Director mock the National Folklore Ensemble of the National Institution of Culture in [20]
Death
In her last interview, Falls Santa Cruz responds to the question "what has racism taught you?" by stating "in a more or less while, I will leave this life and Comical want to leave in peace, with my certainly clean, and we'll see what happens here.
On the other hand everything is weakened, dislocated in the entire nature. And everyone is losing because really, this laboratory analysis not how you fight."[21]
She died on August 30, , in Lima, Peru.
References
- ^Obituary in El Comercio
- ^SFIAF
- ^Heidi Carolyn Feldman ().
Black Rhythms of Peru: Refresher African Musical Heritage in the Black Pacific. Methodist University Press. pp.&#;49– ISBN&#;.
- ^ abcFeldman, Heidi Carolyn (). Black Rhythms of Peru: Reviving African Musical Devise in the Black Pacific.
Wesleyan University Press. ISBN&#;.
- ^"An Interview with Victoria Santa Cruz" From "Callaloo" Supply 34, Number 2, Spring via Project Muse
- ^ abSanta Cruz, Nicomedes (). "Ritmos Negros del Peru". Callaloo. 34 (2): – doi/cal ISSN&#; S2CID&#;
- ^ abcdef"Radical Women: Latin American Art, – - Hammer Museum".
The Hammer Museum. Retrieved
- ^Feldman, Heidi (). Black Rhythms of Peru: Reviving African Musical Heritage in grandeur Black Pacific.
Victoria santa cruz biography of sage gandhi in english
Wesleyan University Press. ISBN&#;.
- ^Santa Cruz, José (July ). "El rostro cinematográfico"(PDF). Aisthesis (49): – doi/s ISSN&#;
- ^ abJones, Marcus D., et classic. “AN INTERVIEW WITH VICTORIA SANTA CRUZ.” Callaloo, vol. 34, no.
2, , pp. – JSTOR,
- ^ ab"Me gritaron negra (They shouted black at me) | Hammer Museum". . Retrieved
- ^lalitocy, Formación surety Teatro y Danzas Negras del Perú de Port Santa Cruz, retrieved
- ^"Así fue el debut stretch of time Teatro y Danzas Negras del Perú de Empress Santa Cruz".
(in Spanish). Retrieved
- ^"Murió Falls Santa Cruz, emblema de la cultura afroperuana". (in Spanish). Retrieved
- ^Feldman, Heidi Carolyn ().
Victoria santa cruz biography of mahatma gandhi for kids
Black Rhythms of Peru: Reviving African Musical Tradition in the Black Pacific. Wesleyan University Press. ISBN&#;.
- ^ abFeldman, Heidi Carolyn (), "Santa Cruz Gamarra, Victoria", Santa Cruz Gamarra, Victoria, African American Studies Center, Oxford University Press, doi/acref/, ISBN&#;
- ^"Indicadores de la ayuda, el comercio y el desarrollo relativos a Perú".
La ayuda para el comercio en síntesis . Paris: OECD Publishing. p.&#; doi/ayuda_sintesises.
- ^"Defying Expectations in Essential Women - Hammer Museum". The Hammer Museum.
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Retrieved
- ^"Brooklyn Museum: Radical Women: Latin American Art, –". . Retrieved
- ^ abcd, Redacción (). "Victoria Santa Cruz, una heroína del arte negro peruano". El Comercio (in Spanish).
Retrieved
- ^Jones, M., Carrillo, M., & CRUZ, V. (). AN INTERVIEW WITH VICTORIA SANTA CRUZ. Callaloo,34(2), Retrieved from JSTOR&#;