Showing posts with label Ensemble Vocal Luna. Show all posts
Showing posts with label Ensemble Vocal Luna. Show all posts

Sunday, July 28, 2013

La Habana, en versos libres: IV. Dias Quatro




Mi título al nacer puso en mi cuna,
El sol que al cielo consagró mi frente.
Yo sólo sé de amor. ~ José Martí, from “Vino de Chianti”

The maracas bird
and the electric one, as well,
rattled the sleepers awake,
but no rush, this morning,
just mission:
writings of José Martí.

Verses simple and complex,
exploring the human connection;
Annette and I had planned,
already, for months,
this excursion,
though we did not know
what being here would be like.

No hurry, this morning;
time for breakfast,
time for coffee,
a decent cup—
I’ve got it covered;
I’ll make my own,
with help from
Our Lady of Seattle.

First, however,
to the cadeca queue,
for old world monetary transactions
in silver fiats:
heroes are moneda nacional
;
monuments are for the touristas.

No credit, no cheques,
it is cash, cash, cash.

The lines start before opening,
 and the guard lets each in
one at a time;
if you are lucky, the cadeca
is on the shady side of the street
—even so, the ladies
have their fans out,
beating them furiously.

Cool inside;
a long day for tells,
even with the long lunch break.

Once at the counter,
I present Canadian Dollars,
much better in exchange
than the taxed American.

I ask for Convertible Pesos,
then, further, for moneda nacional;
the teller smiles,
thinking perhaps:
la yuma,
she will spread her money
among The People.

Traveler’s alert:
count and organize your money
while still inside the cadeca;
safely stow it away before you leave.

We (Annette, Michael and I)
make our way along Obispo
toward the sea,
stopping at the guayabera shops
and bookstores,
but the stores do not yield Martí,
at least, not in the forms we desire.

We continue forward,
to Plaza de Armas;
nestled in the shade of the trees,
the portrait artist wanders,
tracing the image of Michael
across a clean white page,
and it is then we discover Martí.

Ah, Martí,
no mere revolutionary;
the vision and memory,
the myth, even,
of a romantic man
who saw the truth,
that was all around to be seen—
the corruption, the inequity,
the prices paid, and by whom
—and felt as powerless
as any patriot might
at the old world’s stranglehold
on the new.

Martí,
the revolutionary of love—
before learning and liberty,
the greatest of these is love,
amor con amor se paga,
love must precede and supercede
all action that love,
like the sun,
inspires and sustains.

Martí,
the friend
who laid down his life
for his friends,
but those three bullets
did not end the revolution;
the seemingly unfinished monument
can only testify to your continuing legacy,
as do the books we carry away.

We cut across to
Plaza de la Catedral,
to see the music cast into stone,
and to pray in air-conditioned chapel
for reconciliation,
for healing,
and for peace
among the nations.

Chicken sandwiches,
with beer and coffee
at nearby El Patio,
are surprisingly good,
though the service is slow
—we are there at the sleepy time of day.

After paying la cuenta,
we retrace our steps,
picking our way over the cobblestones,
dug up and piled everywhere,
making way for new cable
to modernize and expand
the ancient electrics,
returning to Hotel Plaza,
quickly passing through
the district of fortune tellers,
casting cards or cowries;
our immediate future
is already known:
we must quickly prepare
for our first concert.

We assemble in the lobby,
then the bus appears on cue
to take us to
Teatro Nacional de Cuba,
where we meet Ensemble Vocal Luna
to launch our mutual life’s blood:
love by way of song.

We sang apart and together,
braiding our vibrations,
sending them out
over
Plaza de la Revolución,
to meet the memory of Martí,
honored in his monument,
bringing one circle to a close
with the sharing of Guantanamera.


Later, under a full moon,
standing at the parapet of
la Cabaña,
as the canon is fired,
seeing the skyline of Habana
beyond el
Malecón,
I am reminded
that beauty can be found
everywhere
we are willing
to make the effort
to see it,
to engage it,
and to be inseparable from it.

© 2013 by Elisabeth T. Eliassen

Tuesday, July 16, 2013

La Habana, en versos libres: III. Dias Tres


No maracas bird, this morning,
to raise an alarm,
and the set alarm did not go off!

No time for breakfast,
neither for badly needed coffee.

Ah, the dream of coffee!
The lingering memory
of last night—the singing of
our friend Luis, the dinner,
the music,
dancing and dessert: flan—and
beautiful, rich coffee!

But the memory must suffice,
along with dried fruit:
time for class.


The intricacies of rumba
are the study of a lifetime;
a fluid language
of thought, word and deed,
of clavés, song and dance,
rising up out of the source
in exuberant expansion!

The Masters teach us
about the bembé,
and its unity of
batá, cantando and rumba party.

In the sacred batá,
the drums speak Lucumi,
the timeless language of friendship;
the drum toques call the orishas,
voicing six tones rhythmically
from three drums,
the Iyá, which is the call,
the Itótole, which is the response,
and the
Okónkolo, which is the time regulator.

But this is already too complex;
it is best just to remember
that drums, singing and dance
speak as a single voice.

How can the uninitiated
gain the key to this mystery?

The Masters, they know best;
they are patient and gentle;
to learn about the role of each drum,
they teach us clavé,
the timeless syncopated
two plus three,
or three plus two
pulses of son or columbia forms;
with their guidance,
the clavés transform
from hardwood in our hands
to heartbeat.

The crashing of our small victory
attracts the attention of passersby,
who press their faces against the window:
these songs, we know them well,
but who are these that try to sing them?

The granddaughter of Jesus
does the dance with us,
but has much better form.

This does not dim the joy of our progress;
the sun is bright on the Alameda
as we take our leave
—we feel we have earned our lunch!

Lynne, Dale, Amelie and Elisabeth
decided on the top floor
of Los Nardos;
there we split mixed grill platters,
reveled in the plantains,
delighted in the flan,
and the coffee.

Rushing back to the Hotel Plaza,
we gather our wits,
along with our music;
the tour bus has magically appeared.

To school we go,
in a neighborhood near La Rampa;
there we are met by a motorcyclist,
whose sidecar holds
a keyboard electric.

The instrument once assembled,
the singers assemble also;
we mingle with the young ladies
of Ensemble Choral Luna.

For them, we sing Barasuayo;
for us, they sing Java Jive,
with a Spanish accent;
then we sing Battle of Jericho,
and they sing a fantastic piece
we would love to learn!!

We rest for a moment,
the room warm,
yet cooled by a cross-breeze
through the open windows;
even so,
there is the snap
the cooling swish
of fans,
ancient technology from Spain,
by way of China
[few people, least of all Cubans,
know there is a Hand Fan museum
in Healdsburg, California].

We end our engagement
by mixing to share
Guantanamera.

The keyboard is disassembled
and returned to its origin
via the sidecar on the motorcycle;
both groups enter the bus,
and we are conveyed to Hotel Nacional,
where the ladies have an evening concert.

Coconut palms tower over coral stone
pavements: we walk on fossil record,
feeling cool breezes off the Caribbean Sea.

What more could we do today?

Ah, but there is still dinner to be savored.

© 2013 by Elisabeth T. Eliassen


batá: set of three ethnic, sacred drums ceremonially used in the Santeria faith; these drums have their cultural origin in Yorùbá.
bembé: a Santeria ceremony that includes drumming, chanting and dance.
cantando: song.
columbia: a clavé rhythm also identified as a style of rumba
clavés: two hardwood sticks that beat the 2+3 or 3+2 rhythms key to the rumba polyrhythms
iyá: the largest of the batá drums, the “mother” drum
itótole: the middle sized of the batá drums, the “father” drum
lucumi: a Yorùbá dialect and the liturgical language of Santería
okónkolo: the smallest of the batá drums, the “baby” drum
orishas: a spirit or deity reflecting a manifestation of God in the Yorùbá spiritual system
rumba: a variety of Afro-Cuban dances
son: a clavé rhythm also identified as a style of rumba
toques: rhythm suites played during Santeria rituals