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African Presence in Cuban Theatre
No full textFidel Castro delcared to the new Cuban state in 1959 that: '...nobody can consider themselves to be of pure race, much less superior race...' (Pérez Sarduy 2005: 3). Racial discrimination was considered anti-nation and citizens were expected to relate to each other through merit, not through perceptions of ethnicity; Castro's statements echoed those of nineteenth-century Cuban republican, José Martí, who declared that Cubans should transcend race, considering themselves 'more than white, more than black, Cuban' (ibid.: 6). The search for Cuban identity beyond race has been a feature of the state since 1959 and only in recent years have real moves been made to celebrate the specificity and diversity of African origins in Cuba.
Approximately ninety different ethnic groups from West and Central Africa were taken to Cuba as slaves between 1502 and 1870; inter-racial relationships were commonplace, but despite this intensive racial mixing, Cuba has traditionally privileged European cultural discourse leaving a certain amount of racial tension, even after the Revolution. Inés M. Martiatu claims that although institutional racism was eliminated at the beginning of the 1960s as part of Revolutionary strategy, prejudices held deeply within the population continue to exist (2000: 204). This article will discuss the African presence in contemporary Cuban theatre. First, it will discuss questions of race within performance from the nineteenth century to the present day, and will then focus on the three major areas of performance in Cuba: carnival and popular forms; the use of ritual as structure, plot or content when writing for the stage; and Afro-Cuban religion as a resource for theatre training
Breath in Action: The Art of Breath in Vocal and Holistic Practice
No full textBreath in Action looks at the significance of breath to human life - not just the simple fact that if we stop breathing, we die, but also the more subtle ways in which our breath interacts with our voice and our being. Combining theory with practice, many of the chapters also offer clearly laid out breathing exercises and techniques
The Stone Soup: Towards a Mythological Intelligence
No full textThe chapter introduces basic tenets of the Sesame approach to drama and movement therapy, with a particular focus on working with symbolic image and the idea of mythological intelligence.
The symbolic image is central to many of the arts therapies but is introduced, worked with and reflected on in a variety of ways. The theoretical scope in this area is broad, which brings about a diversity of educational and clinical practice. This chapter explores the in the ways in which we relate to and reflect on the symbolic material which arises from practice and how we might contextualize it within a mythological frame.
ECArTE has established itself as the leading producer of publications on European arts therapy developments. Building on its previous three-volume publication: Arts - Therapies - Communication, and its more recent publication European Arts Therapy, Grouping the Vision - to advance therapy and practice, this book is intended for academics, practitioners, educationalists, health professionals and those working in the community services who are interested in current debates, recent development in research, education and practice in Europe
El Gallo
No full textA wild musical combining a live string octet, an entirely new language and 6 international performers from Mexico, France, Japan and Iran, El Gallo portrays the challenges a composer and a group of singers face when trying to mount a performance in just 2 weeks. The original music theater work is the result of a collaboration between renowned director Claudio Valdés Kuri and British composer Paul Barker.
CAST
Itzia Zerón......................................Shaptes
Irene Akiko Iida..............................Shaktom Fabrina Melón................................Jogbos
Edwin Calderón.............................Thiktum Guillermo Proal..............................................Shaktas
Ernesto Gomez Santana..........................Viptim
Gamaliel Cano...............................Guest conductor

CUARTETO 1
Violin.............................................Rose McIntosh Violin............................................Teo Benson Viola.............................................Lorraine Perrin Cello.............................................Dylan Rieck
CUARTETO 2
Violin.............................................Alina To Violin.............................................Erica Johansen Viola.............................................Andrea Schuler Cello.............................................Mannfried Funk
Lighting design.............................Xochitl Gonzalez Costume design...........................Ricardo Covalín Production....................................Carlos López Training and vocal investigation...María Huesca
(Mexico-United Kingdom)
Movement investigation...............Diego Piñon Corporal and vocal investigation..Daniel Prieto Bravo
(Peru-France)
Stage improvisation adviser.........Claudia Mader (Germany)
Choreography..............................Ruby Tagle (Mexico)
Wrestling adviser..........................Alfredo Reyes Vargas (Mexico) Direction assistant........................Ignacio Plá
Graphic designer..........................Felipe Lar
Integrated Movement Practices and the Breath
No full textIn this chapter, I use the template of my first and second year BA Acting Pathway movement curriculum, a developmental structure, to offer the experience of holistic practice and well-being to seekers of authentic self through movement and breath. The word 'actor' will appear throughout the chapter as it is through working with actors that the depth of the work has been revealed and it has been that throughout history, theatre has revealed ourselves to ourselves