Even before the election that transformed billionaire reality TV star Donald J. Trump into the 45th president of the United States, playwright Robert Schenkkan was so disturbed by the candidate’s anti-immigrant rhetoric that he decided to respond. Not with a Tweet. Not with an opinion-page essay. The Pulitzer Prize winner spoke back to candidate Trump with a full-length play. “Building..
“Baño de Luna,” written and directed by Pulitzer-prize-winning playwright Nilo Cruz and presented by Arca Images and the Miami-Dade County Auditorium, marks the debut of the Spanish-language version of “Bathing in Moonlight,” the original English production that debuted at the prestigious McCarter Theatre Center in Princeton, N.J., in 2016. Performed by a stellar cast in Spanish..
Rafael Nofal’s play “El tiempo de la mandarinas” (“Season for Tangerines”) tackles the very relevant and disturbing theme of human trafficking. Produced by Antiheroes Project, this moving play is in its last week at Artefactus Teatro, a well-purposed black box and gallery space in a smattering of warehouses in Kendall. Nofal’s text removes overt violence and male characters fr..
Joshua Harmon’s savagely funny “Bad Jews” is an emotional cage match set in a pricey Manhattan studio apartment. The combatants are Daphna Feygenbaum (Hannah Benitez), a soon-to-be Vassar grad who plans to move to Israel, marry a man no one in the family has met and become a rabbi, and her cousin Liam Haber (Joseph Paul Pino), a master’s degree candidate and atheist who intends to..
The play begins, as it must, with the velvet voice of Nat King Cole crooning “Mona Lisa.” After all, how many paintings inspire an Oscar-winning song? For that matter, how many masterpieces survive damage, theft and the rapacious covetousness of collectors for more than half a millennium? Leonardo da Vinci’s “La Gioconda,” popularly known as the Mona Lisa, is that inspi..
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..
The 32nd International Hispanic Theatre Festival kicks off on Thursday, July 6 with the Mexican company Los Tristes Tigres’ irreverent spin on Shakespeare, “Algo de un tal Shakespeare” (“Something by One Shakespeare”). Founder and director Mario Ernesto Sánchez, the festival’s engine that could and still can, identifies this raucous play as part of the festival’s larger goal of attracting..
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..
Orlando Taquechel, dance critic for two decades at the El Nuevo Herald (and now a contributor to Artburst), will have a book signing and discussion of his new book, “La danza in Miami (1998-..
The name Flamenco conjures the machine-gun snap of heels, arms arched overhead, the flick of red fabric and laser-like glares from beneath the starched black brim of a Cordobes hat. At the ed..
It’s easy to believe the only excitement Miami offers in September are the dire warnings from the weather service about the approach of yet another tropical storm. However, dance lovers in Mi..
Watching Neri Torres rehearse is a study in focus and concentration. She demonstrates each step with an ease developed from years of immersion in the study and performance of Afro-Cuban ..
Miami-based organization Delou Africa has been the ambassador of African dance and drumming in South Florida for the last 30 years. It started as a performing company, and has since expanded..
Miami Beach’s old city hall on a Thursday evening in June made a surreal set up for anyone familiar with tango’s broody scene -- a large cozy room full of cheerful, laughing, and smiling..
When Ballet Flamenco La Rosa takes to the stage this weekend, it will present a program based on traditions which were handed down through the ages. A program filled with the mysteries of fl..
With every great new love, the beginning is a crucible of extremes – will it endure for decades or permanently scar?The program for Dimensions Dance Theater of Miami’sJuly 8show, “Fiebre: A N..
With a heightened emphasis on “Noise” as an innovative musical genre, this sixth installment of the Miami Performance Festival International (M/P’17), running June 23 to 25, challenges South..
There’s a song James Blood Ulmer sings called “Jazz Is the Teacher, Funk is the Preacher.” If you bring in Mother Blues, along with the family hothead, Rock and Roll, you’ll have a better picture of the musical pedigree of this iconic guitar player and singer. With over 70 years performing behind him, Ulmer, who closes Tigertail Productions’ month-long “FIRE” festival this weekend, still has new revelations to make through his music.
There were detours down many side roads before Ulmer discovered jazz and, ultimately, the blues. During his childhood in tiny, segregated St. Matthews, South Carolina, the only music Ulmer's father would allow in the house was gospel. “When I was coming up,” Ulmer said, “we didn’t have tape recorders and all that stuff to listen to music, we had the radio station. Only music I heard coming up [on the radio] was hillbilly music….My father didn’t let no record players in his house. They were church people. Church people didn’t go for blues, no rock and roll, none of that shit.”
There was, of course, live music in the way of gospel, and plenty of it. “Our entertainment was going to see our family…. On Saturday nights we would have these performances where everybody in the family would sing, dance, play and everyone would sit and listen.”
Rehearsal, whether of speeches or Sunday school songs, were a fact of life early on. “When I was six my father started a gospel group called the Southern Sons,” said Ulmer. They sang at area churches, and even traveled to open for major gospel groups like the Five Blind Boys of Alabama and the National Clouds of Joy. Ulmer has been in the music business ever since.
At 18, he left home and quickly began filling in the gaps in his musical education. His travels read like a road map of black American music in the 20th century: “South Carolina, it was gospel, Pittsburgh, it was doo wop and R&B, then I moved to Ohio and it was progressive jazz… I moved from there to Detroit. I went to actually study music…learning how to write music down on a piece of paper.”
It was when Ulmer finally found his way to New York City, where he still lives, that he played with jazz greats such as drummer Art Blakey and saxophonists like Joe Henderson and Ornette Coleman. It was Coleman who would have a profound influence on Ulmer’s evolving technique.
Coleman had pioneered a new system of playing that he called "harmolodics," a cerebral form of new jazz that sought to free the style from traditional Western scales and harmonies. The story goes that Ulmer, having practiced chords incessantly and frustratingly at Coleman's insistence, went to sleep and dreamt of how to change his guitar’s tuning in order to unlock the key to Coleman’s harmolodic system. When he awoke, he tuned his guitar with four strings on one note and the remaining two on another. Everything suddenly worked. The way Ulmer tunes, he explained, the guitar “becomes a four-stringed instrument with a two-stringed drone. You have to leave the Western sound of the guitar to get to that.”
Ulmer plucks his Gibson guitar with just the thumb of his right hand. He recounted long ago seeing Spanish classical guitarist Andrés Segovia in concert and being astonished at how Segovia plucked the strings with all five fingers. He made a vow to himself: “Now I had to make more sound with one finger than he did with five. I want to play with one finger and get more sound than Segovia. That tuning and my one finger, it’s almost there,” he laughed.
Indeed, as a jazz instrumentalist, Ulmer is considered an innovator and an iconoclast, taking the guitar to places it had never before been within the jazz idiom. It was only late in his career, however, at the suggestion of fellow guitarist Vernon Reid, that he eventually found his way around to the mother of all American roots music, the blues.
Ulmer sings and plays, and his voice is soulful, rich and ragged, with shades of Muddy Waters or Howling Wolf. His “Little Red Rooster” could give Willie Dixon a run for his money, and when Ulmer lets loose his demonic cackle on his own composition, “The Devil’s Got to Burn,” you can almost imagine the legendary Robert Johnson of “Crossroad Blues” fame rising from his grave and peering up at Ulmer from over his headstone.
As in the beginning, when Ulmer and his brother and friends would pile into the car and his father would take them on the road to gigs, or performing on a street corner in Pittsburgh to make his $6 weekly rent, so the practical aspects of the music business shape Ulmer’s career today. Just a man and his guitar is much more flexible than a whole jazz or funk ensemble. It is also enriching artistically: “Solo is putting everything you do in one basket. I am a solo blues man,” said Ulmer with satisfaction.
Even at 77, Ulmer doesn’t seem to spend a lot of time looking back. “We sing to survive,” he said, “we sing to keep a certain spirit going. You keep going, and then that spirit moves on and moves on.” Reflecting back on his gospel beginnings in St. Matthews, he said, “I would like to think that I have been moving forward since then.”
James Blood Ulmer, FIRE festival, 8:30 p.m., Saturday, April 29, Miami-Dade County Auditorium On Stage Black Box, 2901 W. Flagler St., Miami; tickets $35 general admission; tigertail.org or
James Blood Ulmer, FIRE festival, 8:30 p.m., Saturday, April 29, Miami-Dade County Auditorium On Stage Black Box, 2901 W. Flagler St., Miami; tickets $35 general admission; tigertail.org or 305-324-4337.
El debut de Dimensions Dance Theatre of Miami (DDTM) en noviembre del año pasado fué un acontecimiento artístico y un descubrimiento sumamente agradable. Una sola función en el Miami-Dade Cou..
El festival “Out in the Tropics”, patrocinado por Fundarte en conjunto con el Centro Cultural Español y el Miami Book Fair International, normalmente trae artistas del mundo LGBTQ e hispanoha..
La Gala anual de Cuban Classical Ballet of Miami (CCBM) es un evento que esperan con ansiedad los aficionados al ballet en Miami y, sobre todo, los admiradores del estilo cubano. Desde su deb..
El 11 y 12 de mayo próximo tendrá lugar en el Miami -Dade County Auditorium el estreno en Estados Unidos de Scrutiny: The World Gone Astray(en español,Escrutinio: El mundo se ha ido a la deri..
Para el pianista y compositor cubano Omar Sosa la noción de una cultura global, sin fronteras, no es un concepto abstracto sino un tema personal. En su música, elementos de hip hop y rumba, ..
No hay que viajar a otro país para disfrutar en vivo de la música cubana del momento, la más innovadora, la que le da la vuelta al mundo. Basta con asistir a Global Cuba Fest, aquí mismo, en ..
Nadie como el bailarín y coreógrafo español Antonio Gades para describir el arte que lo hizo internacionalmente famoso cuando vivía: “Un extracto de fuego y de veneno, eso es el flamenco”. ..
Desde Las troyanas de Eurípides hasta “Guernica” de Picasso, o de la canción “Blowing in the Wind” de Bob Dylan al diseño de las gorras rosadas que llevaron miles de mujeres en las protestas ..
En un discurso de 1977, el escritor argentino Jorge Luis Borges desmintió la idea de que la ceguera fuera un mundo de oscuridad cuando describió su propia “modesta ceguera”. Hablaba de ciert..