{"id":30499,"date":"2016-06-02T15:35:07","date_gmt":"2016-06-02T22:35:07","guid":{"rendered":"http:\/\/eltecolote.org\/content\/?p=30499"},"modified":"2016-11-09T15:52:39","modified_gmt":"2016-11-09T22:52:39","slug":"in-san-francisco-art-is-everywhere","status":"publish","type":"post","link":"https:\/\/eltecolote.org\/content\/en\/in-san-francisco-art-is-everywhere\/","title":{"rendered":"In San Francisco, art is everywhere"},"content":{"rendered":"

[su_label type=”info”]COLUMN: DEVIL\u2019S ADVOCATE[\/su_label]<\/p>\n

\"The<\/a>
The Teatro Campesino performance of \u201cPopol Vuh.\u201d Photo David McSpadden<\/figcaption><\/figure>\n
\"Carlos<\/a>
Carlos Bar\u00f3n<\/figcaption><\/figure>\n

Every time I leave the San Francisco Bay Area, besides missing my family and others close to me, what I miss most of all is the spectacular multicultural diversity of this place, especially its arts scene.<\/p>\n

Between May 19 and 21, I was lucky enough to be able to witness and hear three magnificent performances, two of them as part of the San Francisco International Arts Festival (SFIAF) under the tireless leadership of Executive Director Andrew Wood.<\/p>\n

The first of these SFIAF performances was a concert by the dazzling Colombian musical group Cimarr\u00f3n, which opened the festival.<\/p>\n

I don\u2019t think I\u2019ve ever heard a better cuatro player or a better player of the Colombian Andean bandola, a kind of 12-string guitar that is plucked. The fingers of the two young players\u201424 or 25 years old\u2014seemed to fly over their instruments, crafting melodies of absolute classics (\u201cCaballo Viejo\u201d and \u201cGavil\u00e1n\u201d) or exuberant compositions mixing jazz and folk. Besides the strings, the percussionists staged a musical juggling act with drums, cajones and maracas, along with the great voice of Ana Veyd\u00f3, who sang in the \u201crecio canto\u201d style of the Colombian plains.<\/p>\n

Behind the youth, the group\u2019s director, harpist Carlos Rojas, was like everyone\u2019s uncle with a constant smile on his face.<\/p>\n

\u201cOf course, besides being the leader, I\u2019m the oldest in the group,\u201d he told me after the show. \u201cJust think of it, I heard the cuatro player for the first time when he was barely 4 years old. Now, even being so young, they\u2019re all old hands, too, after almost 20 years of performing at a high level.\u201d<\/p>\n

He continued proudly: \u201cThe idea is to not grow old. I played with the cuatro player\u2019s father and now I play with his son \u2026 and I hope to be around to play with his grandson.\u201d<\/p>\n

The second SFIAF event, presented on Saturday, May 21 in Fort Mason\u2019s Cowell Theater, was Fandango-Pandanggo, a real musical gem. It was the result of a collaboration between several musicians, dancers and visual artists of different backgrounds, including Filipinos, Spaniards, Cubans and Mexicans. The main collaborators were Chus Alonso, a Spaniard, and Florante Aguilar, a Filipino. Alonso and Aguilar joined together to shed light on how the musical and dance forms of those four countries have influenced each other historically. That night, the jotas and fandangos\/pandanggos came from all of them. The flamenco danced \u201ca la Filipino\u201d was also very Spanish. And the Cuban footwork was reflected precisely in the guajiro flamenco of the Filipina dancer.<\/p>\n

\"The<\/a>
The Teatro Campesino performance of \u201cPopol Vuh.\u201d Photo David McSpadden<\/figcaption><\/figure>\n

The third event was a theatrical production of Popol Vuh: Heart of Heaven by El Teatro Campesino from San Juan Bautista. On Saturday afternoon, May 21, the Cesar Chavez Elementary School in the beleaguered Mission District was decked out for this \u201cPopol Vuh.\u201d Based on the creation myth of the Quiche Mayan people, and brought to life by El Teatro Campesino under the direction of Kin\u00e1n Vald\u00e9z, it was a treat to behold for eye and ear. It was staged in the main schoolyard under a colorful mural presided over by a smiling figure of Cesar Ch\u00e1vez. Spectacular giant paper m\u00e2ch\u00e9 puppets and other puppets of various sizes filled the stage with graceful and beautiful choreography. There was a large, multigenerational cast including children and young people\u2026 and some not so young. The work was narrated and set to music in several languages, including Spanish, English and Quiche, clearly achieving what the program said about El Teatro Campesino\u2019s original vision: \u201cperformance that addresses the Chicano experience in America in a context meaningful to all Americans.\u201d<\/p>\n

While watching the three events, I was overcome by a familiar sensation, a strange kind of sadness, because many people who surely would have loved it\u2014friends, students, family and community members\u2014were not there with me. A lot of my life has revolved around the theater and I\u2019m happy for that.\u00a0 <\/span>Perhaps that\u2019s why, having enjoyed so much being on the stage, or in front of it, that I think it\u2019s something the whole world would like.<\/p>\n

And I believe, like Concha Saucedo of the Instituto Familiar de la Raza said, that \u201cculture heals,\u201d and these days, we need plenty of healing.<\/p>\n

Carlos Bar\u00f3n is recently retired professor of theatre arts, whose teaching career at San Francisco State University spanned 38 years.<\/i><\/p>\n

\u2014Translation Steven Merritt<\/i><\/p>\n","protected":false},"excerpt":{"rendered":"

[su_label type=”info”]COLUMN: DEVIL\u2019S ADVOCATE[\/su_label] Every time I leave the San Francisco Bay Area, besides missing my family and others close to me, what I miss most of all is the spectacular multicultural diversity of this place, especially its arts scene. Between May 19 and 21, I was lucky enough to be able to witness and […]<\/p>\n","protected":false},"author":35,"featured_media":30500,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"newspack_popups_has_disabled_popups":false,"newspack_featured_image_position":"","newspack_post_subtitle":"","newspack_article_summary_title":"Overview:","newspack_article_summary":"","newspack_hide_updated_date":false,"newspack_show_updated_date":false,"footnotes":""},"categories":[11905,4],"tags":[8367,10235,10249,10241,10231,10233,10253,10227,10247,10239,10243,10237,10255,10251,10245,10257,10229],"coauthors":[],"class_list":["post-30499","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-devils-advocate","category-voices","tag-carlos-baron","tag-carlos-rojas","tag-cesar-chavez-elementary-school","tag-chus-alonso","tag-cimarron","tag-colombian-musical-group","tag-concha-saucedo","tag-devils-advocate","tag-el-teatro-campesino","tag-fandango-pandanggo","tag-florante-aguilar","tag-fort-masons-cowell-theater","tag-instituto-familiar-de-la-raza-en","tag-kinan-valdez","tag-popol-vuh-heart-of-heaven","tag-san-francisco-international-arts-festival-en","tag-sfiaf","entry"],"yoast_head":"\nIn 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