Paz: Fandango Urbano 2016

On June 12, 2016, I participated in PAZ: Fandango Urbano 2016

as a class assistant and performer.

During the culminating performance, I accompanied DíaPaSon with new  Zapateado choreographies arranged by Maria de la Rosa.

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Come enjoy the music,  dance and culture from Veracruz, Mexico in this Son Jarocho concert! Witness the debut of four new original compositions by DíaPaSon, sones from the 2014 PAZ: Fandango Urbano project and traditional son jarocho repertoire. DíaPaSon’s guest artist from Veracruz, Mexico: Tacho Utrera, and other surprise guests will participate!
This concert is part of a two-week artist residency of the Son Jarocho group DíaPaSon at La Peña Cultural Center in Berkeley. The artists will share a cross-cultural and cross-generational musical experience reflective of Bay Area urban fandango/son experience.
 
This series of events and workshops is commissioned by La Peña Cultural Center Berkeley and La Peña Austin and funded by NPN Creation Fund. 
 
ABOUT DíaPason
DíaPason is a collective of artists who are practitioners of folk music and dance, particularly the son jarocho, in the interest of promoting and preserving these cultural treasures. Gathered by María de la Rosa, these artists are active in the rich sonero community of the Bay Area and have collectively and individually studied the son art form with internationally renowned master artists of son jarocho and recently collaborated with them to create new repertoire. DíaPaSon often enjoys the privilege of having master artists from Mexico perform as guests in its programs. 
 
PROJECT DESCRIPTION
PAZ: Proyecto A Zapatear was a 2011 collaboration between master son jarocho artist Rubí Oseguera Rueda of Veracruz and local artist María de la Rosa of the Bay Area. In 2014, the pair invited additional master artists Patricio Hidalgo Belli and Felix José “Liche” Oseguera Rueda from Veracruz and additional local artists Artemio Posadas, Hector Lugo, Kamakshi (Tania Rodriguez), and Devin Valdez to form an artistic team that produced PAZ: Fandango Urbano. The team collectively created four new sones that are based on the contemporary Bay Area experience; have universal themes; are rooted in the son tradition; and are an invitation to others to add their voices to them over time. Their themes speak to the historical impact of the Gold Rush on the forming of the Bay Area; the expansivecommunity efforts in the fight for food justice, the growing concern for quality care and safe neighborhoods for children and a whimsical look into the altered reality of the American dream through the eyes of recent immigrants to the area.
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The Beat Fundraiser 2015

On August 29th, 2015, I performed for The Beat dance studio in Berkeley for their annual fundraiser performance!

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I was joined by Sharon Benitez and Tanya Benitez for an all-female trio performance of dances from the Mexican state of Jalisco.

The performance took place at the Malonga Casquelord Center For the Arts in Oakland on Aug 29th at 8pm.

See more information here!

Mudanza Discorde Informal Showing/Open Rehearsal

Mudanza Discorde has been experimenting and collaborating for 4+ months, and now we want YOU to get in on the action!

openRehearsal1 If you’re in the Berkeley, CA area, come join us for an (extremely) informal showing of our work-in-progress on Sunday June 28th, 2015 at 1pm. It will take place at Shawl-Anderson Dance Center in studio 3. Questions, comments, and “wrecking” are all encouraged! Musical arrangements by Tanya Benitez!


You can RSVP on facebook (and invite some friends!) through the link below:

For the gringa whose heart beats in 6/8

I’ve just uploaded my very first video on vimeo! This is a piece of choreography I presented last year as part of the OSU Dance Winter Concert on January 24-26, 2013:

For the gringa whose heart beats in 6/8 (No, it’s not a love story).

During the summer of 2012, I began my first clumsy experiments regarding the fusion of Mexican Folk dance and/or Ballet Folklórico traditions with contemporary movement and performance aesthetics. In the fall, I began working with Asha and Devon and focusing in on one area of inspiration: the Huapango, or Son Huasteca. Like many Mexican folk genres, the traditional dance is footwork-based and not entirely separate from the music.

The short duet we created explores this unique relationship between song and dance when movement is instrumentation (as well as a social activity). How can folklore be re-imagined to simultaneously reflect its own historical significance as well as contemporary values? What is the physical manifestation of obsessive rhythm in this context? How can we acknowledge folklore’s historical significance without being subordinate to its narrative or metaphorical power? These are ongoing questions for me even after this piece has been said and done. Hope you enjoy!