It belongs to the work my Africa


Mayra Alpízar Linares (Lemons, Matanzas, 1956) with works as Ochún and Yemayá, believe tapestries in which she gives a personal vision of these deities of the vault yoruba. [<A>] Mayra has used in its work the technique of the application and in that sense, she is the first Cuban artist that makes it with such aesthetic, formal and conceptual budgets. In other works, the conceptual proposal absorbs, but the apoyatura continues in interpretation signs and accessible decoding, like it happens in strong Plate (1993).

Manuel Moinelo Piñeiro (Matanzas, 1941) he has a long trajectory as painter and designer. Their painting is characterized by a drawing of loose line, a motley policromía and the recreation of mythological and real characters, with a poetic one frank.

Perla María Pinedo (Matanzas, 1950) expressed in many of their works (painting, ceramic, mixed technique, facilities, performances), their personal interpretation of the fork of religions in Cuba. In the group of their work, the collections presented in the personal Exhibitions My Roots and Tribute to the ancestros", they showed a special lyricism, when linking Christ's representation with the orishas, or their interpretation of important sacramental or popular acts linked to different traditions, always linking characteristic elements of the city of Matanzas with the representation of the deities. (My Roots were a personal exhibition carried out in 1992, with guardianship, design and assembly made by Rolando Estévez Jordán and Catalog in charge of Ercilia Argüelles Miret, with the participation of the Grupo Afrocuba and of the Choir of the Centro Kairós in the Gallery of Art of Matanzas. "Tribute to the ancestros was a collective exhibition carried out in the Gallery of Art of Matanzas in December of 1995, with guardianship of Ercilia Argüelles Miret, a homage to the Project of the UNESCO For the slave's route" that included works of Elpidio Guerra, Manuel Moinelo, Perla M. Pinedo, Zenén Calero and Rogelio Mesa).

In the series of works where the reference to a Christ matancero is the topic, they stand out Jesus' birth, where the arcane yorubas substitutes Kings Magos: and Eleguá offers this way the Redeemer the roads, the day and the night; Yemayá, the sea; Ochún, the sun; endowing to the recently born with all the gifts. In The Christ of the pumpkins, a history is illustrated in the one that Ochún is dazzled with the beauty and purity of the Nazareno and it leaves the sweet water of the river to offer him honey of bees and pumpkins. In Christ and the Orichas, Jesus evangelizes the Orichas and he listens and he learns with them, in a process of reciprocal conversion. Christ in the window is a work in the one which, Jesus Christ is in his house matancera, looking at the bay from the window, in a resolved day-to-dayness with details as the averaged papers of the song Longina of Miguel Matamoros, to his feet or the image of the Sacred Heart in the wall. Their work Yemayá (1997), in their invocation like Yemayá Olokun, it is dedicated to the bay of Matanzas, where traditionally was carried out a ceremony for this deity. In Obbatalá (1997), in their invocation like Obbatalá Allaguná, it has recreated the rites: the plate of meringue that is among the adimú (7) characteristic of this Orisha, as well as the white and red flags, the flourished branch of white paradise, the necklace with white and red bills and the iroke or white iroko.

Juan Carlos Urría Fagundo, painter (Jovellanos, Matanzas, 1977), graduate of the Provincial School of plastic arts in June of 2000, it based their Thesis of Degree on the Afro-Cuban thing. The artist wrote: "The thematic that I approach in these works is the result of an intense fact on the learned Cuban sincréticos. My approach to the Afro-Cuban world is very respectful and not from the believer's optics, but of the reverent observer that is nurtured of the mystic and the tradition of this world to catch the image in the square. The myth and the faith: an indissoluble relationship the same as to highlight the bonds between deity and believer, they are the objectives layouts in this work. My proposal consists of nine squares in those that it becomes common in almost all them the use of the drums batá like element (...), as symbol in my work and not alone for the importance that you/they acquire these inside the vault Yoruba, but also for the communication between the orishas and the humans."

Ramón Pacheco Salazar (Ranchuelo, Villa Clara, 1954), autodidactic photographer, with an important career like fotorreportero; from 1991 comes carrying out several series that conform a rehearsal titled Coexistences. It is a direct picture of people, topics, popular, marginal atmospheres, where the topic of the popular religiosity has also been approached.

Zenén Calero Medina (Cardinal red, Matanzas, 1955), it is one of the main designers from Cuba. This artist is a continuous creator of theatrical and community projects from her own Shop The Altarpiece located in the city of Matanzas and before, from the environment of her design for the Teatro Papalote, he has contributed with her sceneries, marionettes, altarpieces and special atrezzos to the setting in scene of the most beautiful Afro-Cuban myths for children and young, under René Fernández's general address. Their design for the work Okín, bird that doesn't live in cage", it is an example of a devise-aesthetic conceptualization of the complex symbols of the legend, in function of the setting in scene.

Rogelio Mesa Ledo (Matanzas, 1963) it is self taught. Designer, painter, engraver and extremely skilled artisan, is a luthier: from instruments of black towns of the Brazil like the berimbao, until the complexities of a guitar or a lute they have been undertaken by this artist that is the only one that has been able to reproduce all the traditional drums faithfully (calls also foundation drums) of each one of the Afro-Cuban religions, studied with a lot of depth and attention. At the moment it projects the construction of the bríkamo group; for it, he already attempts the rescue of a xylophone of the group of instruments of percussion abakuá nonexistent and the rest of the instruments of percussion of this characterized series because, for exception, it was allowed them to be played by women. Rogelio Mesa, Juan Carlos Urría, next to a dancer and singer and several folkloric percusionistas of the Group Dances Hairspring, they have created the Project Iré Obbara (8) of Community Culture to offer percussion shops, dances, songs, plastic arts and craft.

The manifestations of the Afro-Cuban arts, don't only understand to the environment of the visual arts, because their influence in the music, the dance, the theater, the literature, continues being continuous. Generations of descending of those Africans, we are all according to saying popular that here the one that doesn't have of congo, has of carabalí", declaration that you still listen smiling who can assure their origin of islanders, that is to say, of natural of the Islas Canarias, while their children rehearse the resistance slave's songs or the movements of shoulders with the arms flexionados and the hands in the armpits that characterize Yemayá Olokun's dance in their class of the School of Art and the grandmother keeps the ashes of the vent to make crossings when thunders and to avoid Santa Bárbara anger.

To assume the plastic wealth of that Afro-Cuban universe, to insert it in the postmodern currents of century end, to maintain a relationship dialógica between these old cultures and the contemporaneidad, it is part of our identity, showing in the daily thing.

(6) Moliner Castañeda, Israel: Matanzas, Wild and Fences. Matanzas Nro. have 13 Pp. 81. Matanzas, 1988.

(7) Adimú: they are offerings that are made to the deities to guarantee that the well or well-being takes place totally in case the one will go (prediction) it is incomplete or kotoyalé, or to hurry and to guarantee its arrival when the one will go it is complete or yalé. Taken of Dilogún of Yrmino Valdés Garriz, Ediciones Unión, UNEAC, Havana, 1997. Pp. 113.

(8) I will go it is all the good one that it exists in the religion. Obbara is among the orishas, the poorest, to who Obbatalá made rich, because he/she offered pumpkin for all and they rejected her. As Obbara it was poor, it accepted it... and the pumpkin was full with gold. I will go Obbara it is formed by Moral Alexis O'Farrill: Percusionista, director of the Group of Percussion of Danza Espiral: Osmel Thorny Alvarez: Popular Percusionista and folclórico of the Group of Percussion of Danza Espiral. Companion and Professor of Percussion of the Escuela Prov. of Art; Juan Carlos Urría Fagundo: Painter. Graduate of the Professional School of plastic arts Roberto Diago from Matanzas; Yaíma Pelladito of the Miracles: Dancer, percusionista and singer; Rogelio Herrera Oviedo: Folkloric Percusionista and guitarist and Rogelio Mesa Ledo.

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