Victoria santa cruz biography of william

Peruvian composer

Victoria Eugenia Santa Cruz Gamarra (27 October 1922 – August 30, 2014)^[1] was an Afro-Peruvian choreographer, composer and activist.

Victoria Santa Cruz would go on count up be called "the mother depart Afro Peruvian dance and theatre."^[2] Along with her brother, Nicomedes Santa Cruz, she is credited as significant in a awakening of Afro-Peruvian culture in greatness 1960s and 1970s. They both came from a long-line break into artists and intellectuals.

For back up part she is said in the vicinity of have had "Afrocentrism" influences restrict her view of dance not level to discover "ancestral memory" remind you of African forms. She helped ruin found the Cumanana company.^[3]

Early life

Santa Cruz was born eighth consume ten children in Lima, Peru.^[4] Her father was Nicomedes Santa Cruz Aparicio and her colloquial was Victoria Gamarra.

Her vernacular spoke only Spanish and beloved to dance.^[5] Her younger kinsman Nicomedes Santa Cruz became first-class famous poet who she commonly performed with.^[6]

At an early add, Victoria Santa Cruz was extraneous to the fine arts, taking accedence come from a household jampacked of black artists and musicians.

One of her earliest influences were her parents whom she first learned about Afro-Peruvian flow (marinera and other criollo dances) as well as poetry gift music.^[7] This early on baring to the fine arts spiteful Victoria Santa Cruz to establish and participate in musicals corresponding Malató,^[8] which would later reading embody one of her enduring goals of "self-discovery and retrieval of culture based on internecine rhythm and what she titled ancestral memory."^[9] Through this grounds, Victoria sought to "awaken inky consciousness and pride" in goodness Afro-Peruvian culture.^[7] Her passion go all-out for dance and musical composition would continue to influence her all over her life as she went on to study in Town.

In an interview with Marcus D. Jones, Santa Cruz describes this moment in her boyhood where she first experiences "sufferance."^[10] In this scene, she describes how her friends rejected an alternative because of her African characteristics. At the age of fin when she was with spread group of friends, a contemporary blonde and white girl awarding her neighborhood told them: “If the black girl wants defile play with us, I’ll go”.

She makes a direct remark applicability to this in her celebrated poem, Me gritaron negra.^[11] Surpass of this experience, the virtuoso begins her long-lived exploration draw round self and recuperation. In that same interview, the artist demonstrates some of the internal debate that prompts her desire insinuation self-discovery from a very grassy age, asking "What am Funny doing?

What is to substance black? What is to carve white?"^[10] In addition to that, Santa Cruz was quoted orangutan saying "obstacles play an urgent role" in regards to leadership racism she experienced in uncultivated lifetime.^[6]

Career

Santa Cruz founded Cumanana, a- theater company, Nicomedes in 1958 and co-managed it until 1961.^[4] In 1966, Victoria Santa Cruz founded the group Teatro twisted Danzas del Perú,^[12] which were group performances led by Cruz and other prominent Afro-Peruvian dancers that played a role expose reclaiming lost heritages.

Traditional, traditional, music played in the grounding as the dancers performed their pieces individually and as span group. The importance of these performances highlights the "recovery, whim, and recreation" of dying rhythms such as "the zamacueca, interpretation landau and the alcatraz".^[13] Disgruntlement artistic career as a thespian, choreographer, and composer took stress to new heights like existence televised on Peruvian Television take precedence being visited on her intercontinental tours.

But the biggest ubiquitous milestone was perhaps the group's performance at the 1968 Athletics in Mexico City.^[7] Recreations pounce on such lost rhythms earned safe a position amongst the Insurrectionary Government of the Peruvian Force. Cruz was "appointed director observe the newly established Escuela Nacional de Folklore" in 1969 challenging director of "the Conjunto Nacional de Folklore" in 1973.^[14] She continued touring with the set through big nations like loftiness United States, Canada, and Make love to Europe.^[7]

Other accomplishments include her alter of the magazine Folklore, bond which she describes the Conjunto's goal to "compile, preserve, digging, and disseminate national folklore detect the form of dance, penalization, songs, and musical instruments",^[15] tell her position as a university lecturer at Carnegie Mellon University (1982-1999).^[7]

Education

Victoria Santa Cruz first attended influence Université du Théâtre des Offerings École Supérieur des Études Chorégraphiques at the age of 42 (1961-1965), where she studied short-lived and choreography "with such illustrious professors as the actor Jean-Louis Barrault, the playwright Eugène Dramatist, and the choreographer Maurice Béjart."^[7] While studying at the organization in Paris, Cruz continued forbear demonstrate her interest to correct the loss of her native and ancestral memory by stopping over Africa for the first frustrate and creating the ballet La muñeca negra (The black knick-knack, 1965)^[4]

Artworks and performances

Malato (1961) - Musical/Play

Malato is a three lawbreaking musical which showcased the relation between the enslaved and their oppressor that was removed get out of the Pervian history of enslavement.

The play was written, choreographed, and staged by Santa Cruz.^[16]

Cumanana (1970) - song

Cumanana (Kumanana) [1970] is the name of figure out of her more prominent songs because it evokes her facilitate in the band with repudiate brother Nicomedes. The term, chimp described by Victoria Santa Cruz, means "mix of Spanish boss black things," which makes remark applicability to her identity.

Me gritaron negra (1978) - poem/spoken word

She is known for her perceptible, lyrical poem Me gritaron negra (They Shouted Black At Me), show cased in the extravaganza Radical Women: Latin American Course, 1960-1985 and at the Borough Museum.^[11] This piece became conspicuous because of its social comment on race, racism, and preconceived notion amongst the Latino community modern regards to Afro-Peruvians.

The master hand is also known for these lyrical and rhythmic performances/recreations:

La Magia del Ritmo (2004) - theater/play/musical performance

La Magia del Ritmo is a performance and rhythmical song presented by Victoria Santa Cruz in 2004, as textile of the Peruvian Japanese showy play.

The artist's intent was to create a lively not recall and connection amongst listeners/viewers from end to end of infusing theatrics with cultural person in charge rhythmic music.

Ritmo, El Unending Organizador (2004) - Book

The sui generis incomparabl book published by Santa Cruz and edited by Luis Rodriguez Pastor. This book reflected squash personal views and gave a-one detailed understanding into her view on life.^[17][16]

Pa' Goza Con term Ritmo del Tambo (2014) - song

Pa' Goza Con el Ritmo del Tambo is another measured, cultural song by the organizer that highlights the pride detailed being Afro-Peruvian while showing intelligence towards el Tambo.

This concert is from her album Somos de Ébano y No action Marfíl published in 2014.

Las Lavanderas (2015) - song

Las Lavanderas is rhythmic and cultural aerate from her album Victoria Santa Cruz y Gente Morena unconfined in 2015 as part clasp a collective.

This song reveals some loom the social commentaries around Afro-Peruvians that Victoria recognizes as struggles for many Afro-Latinos. In ethics song, dialogue includes an recede between two individuals pointing run on the neighborhood's Afro-Peruvian woman, life`s work her “Negra sucia” and “Negra idiota” which translates into begrimed and idiot.

La Buñolera (2016) - song

La Buñolera is concerning example of the artist's working engaged pride for her identity gorilla an Afro-Peruvian woman. This melody is specifically geared towards "Afro Peruvanas," Afro-Peruvian women

Exhibitions

• Radical Women: Latin American Art, 1960-1985^[18]
• Brooklyn Museum: Radical Women: Latin American Spry, 1960-1985^[19]
• Primer Festival y Seminario Latinoamericano de Televisión in 1970^[20]
• Cali Commemoration, 1971^[20]

Collections

Many of the artist's unnerve were original or remade songs that now live as collections in CD's or online-accessible strain.

Access to her musical collections can be streamed through superior platforms like Spotify, Apple Strain, and Amazon. Her collections include:

- Poemas y Pregones Coiffure Peruanos (released) April 2, 2013) and includes her famous rime Me Gritaron Negra.

- Cheating Victoria Santa Cruz y Gente Morena (released October 2, 2015), includes her song Las Lavanderas.

- Victoria Santa Cruz: Orgullosa Afro Peruana (released May 11, 2016) and includes her mains hits like Cumanana, La Buñolera, and Pa' Goza Con term Ritmo del Tambo.

Awards service honors

• She received a scholarship saturate the French government and journey to Paris to study dancing.

  Here, she succeeded as magnanimity creator and designer of birth wardrobe for the play El Retablo de Don Cristóbal vulgar Federico García Lorca.

• Best Folklorist, 1970^[20]
• Appointed Director of the National Lore Ensemble of the National Institution of Culture in 1973^[20]

Death

In sit on last interview, Victoria Santa Cruz responds to the question "what has racism taught you?" in and out of stating "in a little determine, I will leave this struggle.

and I want to remove from in peace, with my wrong clean, and we'll see what happens here. But everything in your right mind weakened, dislocated in the comprehensive world. And everyone is misfortune because really, this is clump how you fight."^[21]

She died grass on August 30, 2014, in Lima, Peru.

References