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A casual conversation with a fellow theater artist prompted José Manuel Dominguez, founder and artistic director of Antiheroes Project, to produce the company’s latest piece, “El tiempo de las mandarinas,” (“Season for Tangerines”) by Argentine playwright Rafael Nofal. “I am drawn to themes of memory, dreams, and paradise lost, but for a long time I’ve wanted to do a play based on reality,” sa..
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Nowadays, it’s tough not to feel worried, paranoid or in need of some escapist relief from the steady flow of oh-no-he-didn’t news out of Washington. Miami playwright Theo Reyna feels your pain. His response is “Firemen Are Rarely Necessary,” a jet-black satire now getting its Mad Cat Theatre Company world premiere at Miami Theater Center’s Sand Box. The play takes intricately aim..
Pearl Cleage’s play “Flyin’ West,” an M Ensemble production currently on stage at the beautiful new performing arts center in Liberty City, the Sandrell Rivers Theatre, is set in humble Nicodemus, Kansas, the only remaining western town established by African Americans during the reconstruction period following the Civil War. Set in 1898, the play focuses on the lives of Sophie (Brandiss ..
Esteban, (http://estebanlapelicula.com/en/) the debut of Cuban director Jonal Cosculluela being premiered at The Miami Light Project tells the story of a 9 year old, living in Havana with his mother, who’s raising him as a single parent, and his perseverance following his dream of becoming a musician. The challenges seem overwhelming. Esteban and his mother struggle to make ends meet (htt..
Desperate times call for desperate measures. For some, that might mean taking a second or third job. Or robbing a bank. Or moving in with family. For Casey, a straight lip-syncing Elvis impersonator in a Panama City bar, desperation means forsaking the King’s rhinestone-studded jumpsuit for leg hair-hiding pantyhose, fake boobs and big-hair wigs, the better to sell himself as a fa..
Few songs inspire as much national pride as the Colombian classic, “La Pollera Colora” (The Red Skirt). This folk song sings the praises of a beautiful woman who dances to the beat of cumbia, a musical style from the country’s Atlantic coast. Since the time of the Spanish conquest, cumbia has united instruments and sounds from Colombia’s mixed African, indigenous and European heritage.
But the rhythm also has spread across Latin America over the past 50 years, and Miami will get a chance to hear several iterations at concerts in the upcoming weeks.
The deep pulse of the tambora drum, the swirling melody of a flute, and in more recent times, the strumming of a guitar or the wheeze of an accordion make for an almost irresistible rhythm.
That history inspires Tony de la Salas, the 45-year-old leader of the Miami-based band Barrio Abajo, named for the neighborhood in de la Salas’ hometown, Barranquilla, Colombia. Barrio Abajo performs across the United States and appears in all the Colombian music festivals held in Miami. This week they will be offering a free concert with the Rhythm Foundation at the North Miami Beach Band Shell.
“We play cumbia from the heart,” de la Salas says, “to pass on our folklore to the youth of today.”
De la Salas taught himself to play percussion as a child in Barranquilla, and has performed with some of the biggest stars from the region, including salsero Joe Arroyo and folksinger Cheo Acosta.
For the past three years, de la Salas and his bandmates have been preparing a special concert to survey the history of cumbia and other folklore from Colombia that they will present later this month for a concert at the Manuel Artime Theater. Called “Va Rio Abajo” (or “From the River Up”), the concert’s title is a play on the sound of the band’s name, while also describing the region in northern Colombia where cumbia was born.
“We’re going to start on the banks of the Magdalena River, and play songs from each town or state,” de la Salas explains. “Then we’ll keep moving north, from one town to the next, until we get to Barranquilla and the music of carnival.”
The dance troupe Puerta de Oro will perform the dances that traditionally accompany each rhythm. Like Barrio Abajo, Puerta de Oro is based in Miami, but the troupe’s name refers to Barranquilla’s colonial status as the “golden door” to the Americas. The audience will see and hear the region’s history in musical form.
“We want to promote Colombian folklore,” explains de la Salas. “So that our roots don’t die.”
Pan Latin Cumbia
But if cumbia has deep roots in Colombia, it now thrives in Argentina, Chile, Venezuela, Brazil, Mexico, and Peru, where it has fused with local and international styles, from mambo and salsa to rock and techno. In Peru, in the 1960s, cumbia combined with Andean folk music and psychedelic rock to make Peruvian cumbia that nation’s most popular music.
“We have rescued the classic cumbia,” insists Lucho Carillo, lead singer of the Cumbia All Stars, a Peruvian super group coming to Miami this week courtesy of MDC Live Arts. But Carillo is not talking about the cumbia that sprung from the Magadelena River in Colombia. He is referring to the style of music he played in the 1960s as a member of Los Diablos Rojos (The Red Devils), one of the pioneers of Peruvian Cumbia.
Carillo remembers how his old friend, Enrique Delgado Montes, remade Colombian-style cumbia in 1968. “He was a rocker,” Carillo recalls. “He added a little rock and some huayno” -- a form of Andean folk music from Peru. But, Carillo adds, “the guitar was the most important.”
And not just any guitar. Classic Peruvian cumbia is distinguished by trippy ‘60s guitar licks ranging from surf guitar to psychedelic. Peruvian cumbia came to be so strongly associated with the country that it earned its own name, “chicha,” after the fermented corn beer brewed in the region. Over the decades, younger musicians have added yet newer elements, so that Carillo finds contemporary Peruvian cumbia almost unrecognizable compared to the music he once played.
That’s why the singer was thrilled when he was invited to tour again with seven of his peers by a French promoter, at least 30 years his junior. Lionel Igersheim organizes an annual music festival in Peru and saw the potential in bringing back the original stars of Peruvian cumbia.
“The idea of Cumbia All Stars is to rescue songs that no longer exist,” Carillo explains. “The tracks we made were really good, but they have disappeared.”
But if Carillo is eager to rescue his hits, he is not planning to turn his Miami appearance into a history lesson. When the Cumbia All Stars play, he promises, “We are going to make the audience dance on their heads!”
WHAT: Cumbia All Stars
WHEN: 8:00 p.m., Friday, Oct. 2
WHERE: Koubek Center, 2705 SW 3rd St., Miami.
INFO: Tickets cost $10. Children under 12 free; mdclivearts.org
WHAT: Barrio Abajo
WHEN: 8:00 p.m., Thursday, Oct. 8
WHERE: The North Beach Bandshell, 7275 Collins Ave., Miami Beach
INFO: Free; rhythmfoundation.com.
WHEN: 8:00 p.m., Saturday, Oct. 10
WHERE: Manuel Artime Theater, 900 S.W. 1st St., Miami
INFO: Tickets cost $20; manuelartimetheater.com.
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