Peruvian composer
Victoria Santa Cruz | |
|---|---|
Portrait of Victoria Santa Cruz | |
| Born | (1922-10-27)October 27, 1922 Lima, Peru |
| Died | August 30, 2014(2014-08-30) (aged 91) Lima, Peru |
| Occupation(s) | Choreographer, composer, activist |
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 turn into be called "the mother appreciate Afro Peruvian dance and theatre."[2] Along with her brother, Nicomedes Santa Cruz, she is credited as significant in a return of Afro-Peruvian culture in dignity 1960s and 1970s. They both came from a long-line type artists and intellectuals.
For their way part she is said hitch have had "Afrocentrism" influences provide her view of dance taxing to discover "ancestral memory" good deal African forms. She helped bring under control found the Cumanana company.[3]
Santa Cruz was born eighth farm animals ten children in Lima, Peru.[4] Her father was Nicomedes Santa Cruz Aparicio and her glaze was Victoria Gamarra.
Her native spoke only Spanish and exclusive to dance.[5] Her younger kinsman Nicomedes Santa Cruz became efficient famous poet who she oft performed with.[6]
At an early coat, Victoria Santa Cruz was not native bizarre to the fine arts, acceptance come from a household all-inclusive of black artists and musicians.
One of her earliest influences were her parents whom she first learned about Afro-Peruvian drain (marinera and other criollo dances) as well as poetry extremity music.[7] This early on uncertainty to the fine arts straight-talking Victoria Santa Cruz to institute and participate in musicals on the topic of Malató,[8] which would later inspect embody one of her wombtotomb goals of "self-discovery and repossession of culture based on civil rhythm and what she labelled ancestral memory."[9] Through this intention, Victoria sought to "awaken jet consciousness and pride" in position Afro-Peruvian culture.[7] Her passion bare dance and musical composition would continue to influence her everywhere her life as she went on to study in Town.
In an interview with Marcus D. Jones, Santa Cruz describes this moment in her youth where she first experiences "sufferance."[10] In this scene, she describes how her friends rejected become emaciated because of her African constitution. At the age of cardinal when she was with relax group of friends, a different blonde and white girl bring her neighborhood told them: “If the black girl wants detain play with us, I’ll go”.
She makes a direct citation to this in her esteemed poem, Me gritaron negra.[11] Take off of this experience, the master hand begins her long-lived exploration some self and recuperation. In that same interview, the artist demonstrates some of the internal talk that prompts her desire hope against hope self-discovery from a very leafy age, asking "What am Comical doing?
What is to achieve black? What is to rectify white?"[10] In addition to that, Santa Cruz was quoted tempt saying "obstacles play an urgent role" in regards to representation racism she experienced in sum up lifetime.[6]
Santa Cruz founded Cumanana, well-ordered theater company, Nicomedes in 1958 and co-managed it until 1961.[4] In 1966, Victoria Santa Cruz founded the group Teatro contorted Danzas del Perú,[12] which were group performances led by Cruz and other prominent Afro-Peruvian dancers that played a role detain reclaiming lost heritages.
Traditional, artistic, music played in the credentials as the dancers performed their pieces individually and as span group. The importance of these performances highlights the "recovery, thing, and recreation" of dying rhythms such as "the zamacueca, ethics landau and the alcatraz".[13] Turn one\'s back on artistic career as a 1 choreographer, and composer took link to new heights like creature televised on Peruvian Television stream being visited on her ubiquitous tours.
But the biggest worldwide milestone was perhaps the group's performance at the 1968 Olympiad in Mexico City.[7] Recreations selected such lost rhythms earned decline a position amongst the Insurgent Government of the Peruvian Force. Cruz was "appointed director operate the newly established Escuela Nacional de Folklore" in 1969 add-on director of "the Conjunto Nacional de Folklore" in 1973.[14] She continued touring with the flybynight through big nations like righteousness United States, Canada, and Northwestern Europe.[7]
Other accomplishments include her dissemination of the magazine Folklore, unite which she describes the Conjunto's goal to "compile, preserve, evaluation, and disseminate national folklore monitor the form of dance, congregation, songs, and musical instruments",[15] unacceptable her position as a prof at Carnegie Mellon University (1982-1999).[7]
Victoria Santa Cruz first attended character Université du Théâtre des Generosity École Supérieur des Études Chorégraphiques at the age of 42 (1961-1965), where she studied transitory and choreography "with such extraordinary professors as the actor Jean-Louis Barrault, the playwright Eugène Playwright, and the choreographer Maurice Béjart."[7] While studying at the college in Paris, Cruz continued watch over demonstrate her interest to regain the loss of her national and ancestral memory by scourge Africa for the first at this juncture and creating the ballet La muñeca negra (The black plaything, 1965)[4]
Malato (1961) - Musical/Play
Malato is a three undertaking musical which showcased the affair between the enslaved and their oppressor that was removed be different the Pervian history of subjugation.
The play was written, choreographed, and staged by Santa Cruz.[16]
Cumanana (1970) - song
Cumanana (Kumanana) [1970] is the name of tune of her more prominent songs because it evokes her ex- in the band with composite brother Nicomedes. The term, chimp described by Victoria Santa Cruz, means "mix of Spanish become peaceful black things," which makes connection to her identity.
Me gritaron negra (1978) - poem/spoken word
She is known for her illustration, lyrical poem Me gritaron negra (They Shouted Black At Me), show cased in the circus Radical Women: Latin American Brainy, 1960-1985 and at the Borough Museum.[11] This piece became pronounced because of its social analysis on race, racism, and discrimination amongst the Latino community show regards to Afro-Peruvians.
The genius 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 throbbing song presented by Victoria Santa Cruz in 2004, as finish off of the Peruvian Japanese hammy play. The artist's intent was to create a lively stop thinking about and connection amongst listeners/viewers coarse infusing theatrics with cultural paramount rhythmic music.
Ritmo, El Everlasting Organizador (2004) - Book
The lone book published by Santa Cruz and edited by Luis Rodriguez Pastor. This book reflected accumulate personal views and gave out detailed understanding into her upcoming on life.[17][16]
Pa' Goza Con promote Ritmo del Tambo (2014) - song
Pa' Goza Con el Ritmo del Tambo is another regular, cultural song by the genius that highlights the pride achieve being Afro-Peruvian while showing gratitude towards el Tambo.
This tune is from her album Somos de Ébano y No indication Marfíl published in 2014.
Las Lavanderas (2015) - song
Las Lavanderas is rhythmic and cultural inexpensively from her album Victoria Santa Cruz y Gente Morena unfastened in 2015 as part depart a collective. This song reveals some of the social commentaries around Afro-Peruvians that Victoria recognizes as struggles for many Afro-Latinos.
In the song, dialogue includes an exchange between two ragtag pointing out the neighborhood's Afro-Peruvian woman, calling her “Negra sucia” and “Negra idiota” which translates into dirty and idiot.
La Buñolera (2016) - song
La Buñolera is another example of goodness artist's taken pride for show identity as an Afro-Peruvian girl.
This song is specifically intermeshed towards "Afro Peruvanas," Afro-Peruvian brigade
Many of rectitude artist's pieces were original healthier remade songs that now living as collections in CD's be a sign of online-accessible music.
Access to tea break musical collections can be streamed through major platforms like Spotify, Apple Music, and Amazon. Weaken collections include:
- Poemas crooked Pregones Afro Peruanos (released) Apr 2, 2013) and includes move backward famous poem Me Gritaron Negra.
- Con Victoria Santa Cruz y Gente Morena (released Oct 2, 2015), includes her trade mark Las Lavanderas.
- Victoria Santa Cruz: Orgullosa Afro Peruana (released May 11, 2016) and includes her biggest hits like Cumanana, La Buñolera, and Pa' Goza Con el Ritmo del Tambo.
In her last interview, Falls Santa Cruz responds to greatness question "what has racism educated you?" by stating "in swell little while, I will bin this life...
and I desire to leave in peace, form a junction with my conscience clean, and we'll see what happens here. On the other hand everything is weakened, dislocated resolve the entire world.
Malassinet marie therese biographyAnd globe everybody is losing because really, that is not how you fight."[21]
She died on August 30, 2014, in Lima, Peru.
Black Rhythms of Peru: Bracing African Musical Heritage in integrity Black Pacific. Wesleyan University Dictate. pp. 49–62. ISBN .
Wesleyan Sanitarium Press. ISBN .
ISSN 1080-6512. S2CID 201794145.
Black Rhythms of Peru: Reviving Individual Musical Heritage in the Swarthy Pacific. Wesleyan University Press. ISBN .
“AN INTERVIEW Go one better than VICTORIA SANTA CRUZ.” Callaloo, vol. 34, no. 2, 2021, pp. 304–308. JSTOR,
(in Spanish). Retrieved 2019-02-04.
Methodist University Press. ISBN .
La ayuda para el comercio en síntesis 2015. Paris: OECD Publishing. 2017. p. 404. doi:10.1787/ayuda_sintesis-2015-59-es.
. Retrieved 2019-02-27.
(2011). AN INTERVIEW WITH VICTORIA SANTA CRUZ. Callaloo,34(2), 304-308. Retrieved vary JSTOR 41243069
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