tag:blogger.com,1999:blog-12351724419121759332024-03-16T01:22:10.008-05:00Leticia AlanizLeticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.comBlogger85125tag:blogger.com,1999:blog-1235172441912175933.post-91470676340674317582024-02-12T13:10:00.001-06:002024-03-07T11:47:48.681-06:00Poem: "I've got my magic back" by Leticia Alaniz<div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/S6qG0_dItGs" width="320" youtube-src-id="S6qG0_dItGs"></iframe></div><br /></div><div><br /></div><div>I’ve got my magic back</div><div>Moon spells breathe out of my </div><div>mouth and exhale Medusa chants. </div><div><br /></div><div>The black springs turn yellow, </div><div>petal pink, and green. </div><div>I left behind the rush and madness </div><div>from the old. </div><div>I’ve put on my high priestess robe. </div><div><br /></div><div>Pomegranate juices drip down</div><div>my lips.</div><div>They open the seeds of </div><div>knowledge.</div><div>An altar of onions and fleur-de-lis</div><div>winds under my feet.</div><div><br /></div><div>Lyrical songs sing </div><div>turning leaves, shaking the</div><div>branches of my hips.</div><div><br /></div><div>My body is hotly possessed in</div><div>the Minerva temple.</div><div><br /></div><div>Vanilla orchids cluster their nest </div><div>in my hair. </div><div>Producing Spain of blood, wine, and fire.</div><div><br /></div><div>Nymphs of the forest tell me</div><div>your reflection is resurrect.</div><div>My heart flutters.</div><div>The ebony raven circles her ritual dialect.</div><div><br /></div><div>You know my language,</div><div>my Astros, my heavenly body,</div><div>curves and all.</div><div><br /></div><div>The prelude of my breath</div><div>awakens the sacred.</div><div>The verse of my rhythm wind</div><div>calls for the love spell</div><div>of my magic that</div><div>is back again.</div><div><br /></div><div>© 2023 Leticia Alaniz</div>Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com0tag:blogger.com,1999:blog-1235172441912175933.post-77212253025123677332023-10-05T08:40:00.000-05:002023-10-05T08:48:24.298-05:00Aarian Marrivada Alaniz - Return of the Maya<p style="text-align: left;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJPSQ5HEExiF5uGZGatVrO2tWwyDEmY-l_jSAUbQA6AdrLi60ldbY6bH5XVQ27kiOh-Yy9CWaVYqtr9eOt3Rq7AOzuszHtJ1_GxbFqhruEh2zdoZzc8acd9gU2AxksbXjT9pDNept6idYjag3GLvV8Gg62T3PlYzGQB52Zij2YoYrwMZFATZo-QGV9pEo/s4476/AarianMarrivadaReturnoftheMaya.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4476" data-original-width="3465" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJPSQ5HEExiF5uGZGatVrO2tWwyDEmY-l_jSAUbQA6AdrLi60ldbY6bH5XVQ27kiOh-Yy9CWaVYqtr9eOt3Rq7AOzuszHtJ1_GxbFqhruEh2zdoZzc8acd9gU2AxksbXjT9pDNept6idYjag3GLvV8Gg62T3PlYzGQB52Zij2YoYrwMZFATZo-QGV9pEo/w310-h400/AarianMarrivadaReturnoftheMaya.JPG" width="310" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Aarian Marrivada Alaniz, "<b>Return of the Maya</b>" 2023<br />Analog Paper Collage on Arches Paper (11x14 inch)<br />Photo © Leticia Alaniz</td></tr></tbody></table></p><p style="text-align: left;"><span style="font-family: georgia;"><span style="text-align: justify;">Becoming an artist for Aarian Marrivada Alaniz came naturally, instinctively and with deep never-ending passion. </span><span style="text-align: justify;">This is Aarian’s debut showcasing the art of his young imagination.</span><span style="text-align: justify;"> </span><span style="text-align: justify;">He has demonstrated a creative interest since he could hold a paint brush at the age of three.</span><span style="text-align: justify;"> </span><span style="text-align: justify;">Painting and drawing at floor level, he instinctively created art that evolved into forms that are influenced by personal motivation and his surroundings.</span><span style="text-align: justify;"> </span><span style="text-align: justify;"><span>Between the age of six or seven, Aarian began to create art influenced by several schools of art that he most loved, including Modern and Abstraction, with a special interest in color and Wassily Kandinsky art.</span></span><span style="text-align: justify;"> </span><span style="text-align: justify;">He perceived everything in a much broader and deeper sense creating narratives from memory, music and his favorite literature. </span><span style="text-align: justify;"> </span><br /><span style="text-align: justify;"><br /></span></span></p><p style="text-align: left;"><span style="font-family: georgia; text-align: justify;">In this first professional exhibition, Aarian presents a piece titled,<b> Return of the Maya</b>. It's an authentic analog collage that celebrates a life of mementos through his eyes. Aarian has no limits on his decision of splashy color and bold choices of narrative. There's a cherry-red car in the shape of an ultra-cool rocket that represents suave road trips from a bygone era. A giant Mayan stone head with an ever looking eye in black and white sits on a colorful Mayan weave. A monkey sits in the style of Auguste Rodin's bronze sculpture: <i>The Thinker</i> in a playful take in front of a computer with the word "Loading" over his head. The piece is exhibited as part of a juried group exhibition: <b>Memento: Art That Reminds Us</b>, at<b> 9th Street Studios</b> in Wichita Falls, Texas under the direction of curator and artist, Amber Day Scott. Another aspect of the exhibition is an audio recording and a personal essay that accompanies the piece. The essay written by the artist describes his piece: </span><br /><span style="color: #424242; font-family: georgia;"><span style="caret-color: rgb(66, 66, 66); letter-spacing: 1px; white-space: pre-wrap;"><br /></span></span><span style="background-color: white; text-align: justify;"><br /><span style="color: #424242; font-family: georgia;"><span style="caret-color: rgb(66, 66, 66); letter-spacing: 1px; white-space: pre-wrap;">My name is Aarian I am nine years old. </span></span></span><span style="font-family: georgia;"><span style="background-color: white; caret-color: rgb(66, 66, 66); color: #424242; letter-spacing: 1px; text-align: justify; white-space: pre-wrap;">This is my very first collage. The Mayans </span><span style="background-color: white; caret-color: rgb(66, 66, 66); color: #424242; letter-spacing: 1px; text-align: justify; white-space: pre-wrap;">from Guatemala and Mexico are in my heritage because my mother is Mexican and my father is from India. The giant Mayan sculpture head is ancient beauty in stone carved hundreds of years before the conquistadors from Spain arrived. I have memories of road trips, sitting on sarapes and weavings at the beach and eating fresh fruit and ceviche. I have my favorite colcha that I call the "colores colcha," the sombrero represents my grandfather, the orchids the south of Mexico. The monkey represents me, learning technology.</span></span></p><p style="text-align: left;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZeAyheKP8clJoOcJanu6F90v1wiMOrpLpQu9XQ9GUyBCF168zAb5QNZKcVx4Ffy8djkqE_PbgxBgYF7ARUOK03iBiJ7bWhpXyzZ2LezoZfIRX0J1dZz76oWYntc86QhHTgb1UFttEjjobUIusXD5U97PFmYaCY19toqYo5Mz1fM-XfHFui-Ce-GN16MY/s2048/375976752_804007305060547_8204677003488658944_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1017" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZeAyheKP8clJoOcJanu6F90v1wiMOrpLpQu9XQ9GUyBCF168zAb5QNZKcVx4Ffy8djkqE_PbgxBgYF7ARUOK03iBiJ7bWhpXyzZ2LezoZfIRX0J1dZz76oWYntc86QhHTgb1UFttEjjobUIusXD5U97PFmYaCY19toqYo5Mz1fM-XfHFui-Ce-GN16MY/s320/375976752_804007305060547_8204677003488658944_n.jpg" width="159" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo © Jess Clark 2023</td></tr></tbody></table></p><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: georgia; text-align: left;">Aarian perceives art as seriously as he plays music. Along with creating visual art, Aarian is a musician and composes on the piano original works which he declares are a continuation from his canvases. Impressionism is another school of art which he particularly enjoys and composes melody beyond standard lyricism. One of his first compositions is a playful melody that he titled, The Detective. His freeform melodies are enmeshed with his visual work and his inspirations are infinite. </span></div><span style="font-family: georgia;"><br /><br /><span style="text-align: justify;">Aarian Is mentored by his mother who is also an artist. He creates in acrylic, oils, oil pastels, and paper collage. </span></span><div><div style="text-align: justify;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFJgipLjT1OS6m2mvEDCLq9ueRBqU5BBCL0bAgvc14o0UYzqGHDrYUa8V1mrWZ1oH3VCyOHYNJYFvrV71YVwsSrVuiwc5gRYiIM8AZ-Y2DthyphenhyphenoazEhK8QAEL0HlRmmb4NWWYpeQUGmTplULfjterAK8sAkpBL20B2ipbunVcoo-29oqB0Cs6hpoLy1UQg/s4256/DSC_5106.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2832" data-original-width="4256" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFJgipLjT1OS6m2mvEDCLq9ueRBqU5BBCL0bAgvc14o0UYzqGHDrYUa8V1mrWZ1oH3VCyOHYNJYFvrV71YVwsSrVuiwc5gRYiIM8AZ-Y2DthyphenhyphenoazEhK8QAEL0HlRmmb4NWWYpeQUGmTplULfjterAK8sAkpBL20B2ipbunVcoo-29oqB0Cs6hpoLy1UQg/s320/DSC_5106.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Aarian Marrivada Alaniz<br />© Leticia Alaniz 2023</td></tr></tbody></table><br /><span style="font-family: georgia;"><br /></span></div><span style="font-family: georgia;"><span style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><br /></div></span></span><p></p>
</div>Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com2tag:blogger.com,1999:blog-1235172441912175933.post-59873772710578316952021-03-03T08:33:00.013-06:002021-03-03T08:55:22.000-06:00The blue boat - La barca azul<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-HTWBLpleTgg/YD-Z6X8DbtI/AAAAAAAABsg/dePSb36XKVwYGloJ_uGX9zCC5_p7Pu1kQCLcBGAsYHQ/s2048/156235984_246034133889377_3084980199404881538_n.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1460" data-original-width="2048" height="456" src="https://1.bp.blogspot.com/-HTWBLpleTgg/YD-Z6X8DbtI/AAAAAAAABsg/dePSb36XKVwYGloJ_uGX9zCC5_p7Pu1kQCLcBGAsYHQ/w640-h456/156235984_246034133889377_3084980199404881538_n.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Mexico<br />Photograph © Brent Kollock</td></tr></tbody></table><p><span style="font-size: medium;"><span style="font-family: Helvetica; text-align: justify;">At dawn, the north wind blew the waves strongly, beating its foamy arms with fervor until a boat was wrecked on the beach. Its blue color had faded in parts where the sea had taken its due when navigating its waters. A sign on the side in scarlet letters read </span><b style="font-family: Helvetica; text-align: justify;"><i>Palom r</i></b><span style="font-family: Helvetica; text-align: justify;">. The letter </span><b style="font-family: Helvetica; text-align: justify;"><i>a</i></b><span style="font-family: Helvetica; text-align: justify;"> had been erased and a grayish shadow remained in its place.</span></span></p><p><span style="font-size: medium;"><span style="font-family: Helvetica; text-align: justify;"><br /></span></span></p>
<p style="font-family: Helvetica; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-size: medium;">The sun's rays rushed down and the light peeked out between my toes. Because of my exhaustion, I couldn't lift my eyes any longer. So I slept a while. I was hungry and thirsty. I had to get to town before the downpour fell. </span></p>
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<p style="font-family: Helvetica; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-size: medium;">I tried to rush my sleep. My bare chest, dry with sand, reminded me of the luck of my escape from my husband's house. I ran out into the night when he tried to lock me in a room under a padlock. I managed to shake off his anger by throwing a wooden jewelry box at the window. The cracks in the glass were my door of freedom and I ran in the moonlight until I reached the beach.</span></p>
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<p style="font-family: Helvetica; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-size: medium;">I walked towards the blue boat. Its whale-like figure had an empty skeleton belly. I <br /> found a rope and a fishing net. I climbed in and hid. I tried to stop the wind with my fingers. The boat rocked and the waves spoke sweetly to her. She moved until she was stuck in a rocky corner where white flowers grew. The flowers gave off a scent of honey-pollen and the bees buzzed quickly, intoxicated by their feeding. The coarse grain of the sand was like white sugar that melts with water. I imagined eating the sand with honey and thus I calmed the anguish of my hunger.</span></p><p style="font-family: Helvetica; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-size: medium;"><br /></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-a60c091AQ-M/YD-ayQYVaKI/AAAAAAAABso/chUIMYA2dn4JaMsTE2IC8-s5somWvY5TACLcBGAsYHQ/s2048/155019159_340329043970693_3789851556466635174_n.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1365" data-original-width="2048" height="266" src="https://1.bp.blogspot.com/-a60c091AQ-M/YD-ayQYVaKI/AAAAAAAABso/chUIMYA2dn4JaMsTE2IC8-s5somWvY5TACLcBGAsYHQ/w400-h266/155019159_340329043970693_3789851556466635174_n.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photograph © Brent Kollock<br /><br /></td></tr></tbody></table>
<p style="font-family: Helvetica; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-size: medium;">Thick, heavy drops began to appear. I thought it would be a light drizzle, but then it gained strength and jets of water moved the boat from its place. Bubbles and foam from the sea crashed in and turned my refuge into a heavy belly. I abandoned the boat.</span></p>
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<p style="font-family: Helvetica; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-size: medium;">I came upon a thatched shack at a fisherman's wharf. A toothless lady dressed in a stained apron bellowed at me, "Dirty!" When they smell a strange presence, the skinny, mangy dogs come out to bark, dripping saliva. The uproar summoned people to lean out the door to take a look. Another lady with broad shoulders and a bent forehead offered me a scratchy cloth to cover my nakedness. Her hands with luminous scales that had stuck dry to her hands smelled of guts and fish. But I felt her motherhood in her eyes and she offered me lodging in her hut.</span></p>
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<p style="font-family: Helvetica; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-size: medium;">She comforted me, “Tomorrow will dawn a clear day pronounced by the mouth of God. Come on girl, sleep. The journey is long and we women are of dominion and power. "</span></p>
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<p style="font-family: Helvetica; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-size: medium;">Written by Leticia Alaniz</span></p>
<p style="font-family: Helvetica; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-size: medium;">© 2021</span></p>
<p style="font-family: Helvetica; font-stretch: normal; line-height: normal; margin: 0px; min-height: 29px; text-align: justify;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-rKb0F0kkU90/YD-bW0M6O4I/AAAAAAAABsw/TSfcRZO-aVsivTHaQUbkSwSpfhH_X2oXQCLcBGAsYHQ/s2048/156242696_802351787295941_7124925073730420824_n.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1365" data-original-width="2048" height="266" src="https://1.bp.blogspot.com/-rKb0F0kkU90/YD-bW0M6O4I/AAAAAAAABsw/TSfcRZO-aVsivTHaQUbkSwSpfhH_X2oXQCLcBGAsYHQ/w400-h266/156242696_802351787295941_7124925073730420824_n.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photograph © Brent Kollock</td></tr></tbody></table><span style="font-size: medium;"><br /></span><p></p>
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<p style="font-family: Helvetica; font-stretch: normal; line-height: normal; margin: 0px; min-height: 29px; text-align: justify;"><span style="font-size: medium;"> </span></p>Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com5tag:blogger.com,1999:blog-1235172441912175933.post-62107220238468032612021-02-24T18:17:00.012-06:002021-03-01T10:02:03.748-06:00Amber Day Scott - An Ephemeral Eclipse<p></p><br /><span style="font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-ClnEyqhwaXg/YDbbfOzMK3I/AAAAAAAABrU/73eluDJOcGI4tKyF4f7GElfrc9_4n3MZQCLcBGAsYHQ/s997/AmberDayScott%25C2%25A9LeticiaAlaniz_1_8746223327.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="769" data-original-width="997" height="494" src="https://1.bp.blogspot.com/-ClnEyqhwaXg/YDbbfOzMK3I/AAAAAAAABrU/73eluDJOcGI4tKyF4f7GElfrc9_4n3MZQCLcBGAsYHQ/w640-h494/AmberDayScott%25C2%25A9LeticiaAlaniz_1_8746223327.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Amber Day Scott - Artist<br />© Leticia Alaniz</td></tr></tbody></table>Every so often, you come across an artist that has a burning inner fire ravishingly creative, that gold embellishments adorn her artwork like streaks of pre-Earth supernovae and star collisions. In essence, gold found on Earth came from the debris of dead stars. Several thousand years later, flecks of pure sparkly gold made their way onto the art of Amber Day Scott. </span><p></p><p><span style="font-size: medium;">Attracted to the Modern Art Period and Art Deco, Day Scott journeyed into lifelong learning and expressiveness. Natural wonders, Earth’s rotation, Solar and Lunar Eclipses, and the symbolism of cosmic events became the core inspiration for her work.</span></p><p><span style="font-size: medium;">Amber Day Scott was born and raised in Wichita Falls, Texas where she earned a Bachelor of Fine Arts degree from Midwestern State University in 2001. As a young dreamer and nature observer, in search of the wonders of celestial bodies, she embarked on a road trip in 2017 to witness eclipse totality which had a profound effect on her creative thought process. Careful planning gave way to be at the right place, at the right time. Witnessing the breathtaking sight was well worth every second. She became a seeker of truth and decided that experience rather than explanation would be the focus of her art. </span></p><p><span style="font-size: medium;">Cosmic events, extreme weather, and animal behavior, especially when darkness falls during a total eclipse and the stars fill the sky, are a source of natural poetry and inspiration for one of Day Scott’s most current body of work. In her words, “I’m inspired by both the toxicity of the human ego, and the idea that we are all just stardust.”</span></p><p><span style="font-size: medium;">Ingrained in her memories is a life-changing tornado that fiercely tore through her beloved Wichita Falls in 1979. Her displaced family among hundreds of others were moved to FEMA housing in a public park, which was also home to a large prairie dog colony. She learned to commune in a society beaten by trauma and fear. Among the chaos after the storm, under her feet were villages of resilient subterranean rodents who proved to be extremely charismatic and social. When the horizon flushed with the colors of the sunset, it was prime observational time for Day Scott. The experience was greatly moving. Naturally, the peeking eyes of the prairie dogs were to become immortalized in her work. </span></p><p><span style="font-size: medium;">The displacement left an indelible mark on Day Scott, which she purposefully expresses in her art. Rather than focusing on the trauma, an understanding of given circumstances enlightened her artistic purpose. She chose to recognize the lyricism in the imagery of the prairie dogs’ survival and social behavior.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-Gh8zYLlO5CY/YDbevCnnbJI/AAAAAAAABrk/7_2SpjlOSWo_LY_vdnJwd0FFrgz_vMxdQCLcBGAsYHQ/s2048/pdog%2B21%2BInexhaustible%2BLamp.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1652" height="400" src="https://1.bp.blogspot.com/-Gh8zYLlO5CY/YDbevCnnbJI/AAAAAAAABrk/7_2SpjlOSWo_LY_vdnJwd0FFrgz_vMxdQCLcBGAsYHQ/w323-h400/pdog%2B21%2BInexhaustible%2BLamp.jpeg" width="323" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Inexhaustible Lamp (2020)<br />© Amber Day Scott</td></tr></tbody></table><p><span style="font-size: medium;">In the piece <b><i>Inexhaustible Lamp</i> (2020)</b>, Amber quotes scientist and poet Carl Sagan in a mixed media depiction that encompasses the cosmic sentiment tied to the artist’s work. A prairie dog holds a golden moon while a fiery sunset sets the stage for the darkening sky of an eclipse, which on close observation seems eternally liquified on its silent gravitation. The moon partly covered, comes full circle with beaming light in golden tonalities reflected in the eyes of the onlooking prairie dog. It serves as a reminder that we’re a granular element. Our presence may even be ephemeral - a flash of luminescence in a great dark ocean. The sun is an omnipresent force on the landscape, one that the prairie dogs cannot escape. </span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-UUeji9braqM/YDbfakKm41I/AAAAAAAABrs/rMS-Nq1iQqIB_0rWZKOAgsTiWQMFhXalQCLcBGAsYHQ/s2048/pdog%2B15%2Bknown%2Band%2Bunknown.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1642" height="400" src="https://1.bp.blogspot.com/-UUeji9braqM/YDbfakKm41I/AAAAAAAABrs/rMS-Nq1iQqIB_0rWZKOAgsTiWQMFhXalQCLcBGAsYHQ/w321-h400/pdog%2B15%2Bknown%2Band%2Bunknown.jpeg" width="321" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Known and Unknown (2020)<br />© Amber Day Scott</td></tr></tbody></table><br /><span style="font-size: medium;">We live in an extraordinary place in the universe where total solar eclipses are possible. Day Scott applies her observations of this magical phenomenon in <b><i>Known and Unknown</i> (2020)</b>. A total solar eclipse is mirrored underground of a hill. A prairie dog rests on the hill, looking out observing his surroundings, almost in gravitational suspense of the eclipse. Hues of soft and creamy pastels radiate glowing energy from the life-giving sun. A golden aura majestically forms a shimmering ring of darkness, void of the fragility of light. Its a perfect example of how the artist has applied flecks of gold from the collided stars in her artistic universe.</span><p><span style="font-size: medium;">In an astonishing burst of energy, in the piece <b><i>Denier </i>(2020)</b>, a prairie dog has come out of its tunneling city perhaps communicating to its brethren the day’s activities. Golden embroidery stitches mark a balanced sky as dawn approaches. Wispy touches of light remaining from the night’s twilight fall on the land. The prairie dog’s dark, quiet eyes become amused as he stares along the horizon marking the underground road of his home as he listens intently for the rhythms of his kin.</span></p><p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-JKsJKmlEGTk/YDbgKBcAyfI/AAAAAAAABr0/IYgow_nOnPsAYOfAKUc891lbTWpWCLQJgCLcBGAsYHQ/s2048/pdog%2B6%2BDenier.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1621" height="640" src="https://1.bp.blogspot.com/-JKsJKmlEGTk/YDbgKBcAyfI/AAAAAAAABr0/IYgow_nOnPsAYOfAKUc891lbTWpWCLQJgCLcBGAsYHQ/w506-h640/pdog%2B6%2BDenier.jpeg" width="506" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Denier (2020)<br />© Amber Day Scott<span style="text-align: left;"> </span></td></tr></tbody></table><p></p><p><span style="font-size: medium;">The artist must believe that what he is doing is the most important thing in the world. Adhering to this belief, Day Scott focused on the present and let go of fears and worries. Gratefulness and the ability to change and grow opened the door for new experiences. In the piece titled <b><i>It’s in order for a Reason</i> (2020)</b>, Day Scott found appreciation in the landscape of the prairie that had been decimated by a tornado. She assumed a stream of consciousness in a dreamlike quality. An upright prairie dog stands still in a ring that defines the origin of the word: Cosmos. Quoting Carl Sagan it reads, “Cosmos is a Greek word for the order of the universe. It is in a way, the opposite of Chaos. It implies the deep interconnectedness of all things.” Day Scott invites the viewer to look into the ring, to read the quote, and to think. It makes the viewer feel as if we are part of the story and the stillness creates a sense that we are witnessing a kind of heightened reality. The landscape painted in hues of blues and dotted with soft, fluffy clouds of white reminds the inhabitants that our landscape is green, lush, and full of life.</span></p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-5NMa5Q_2quc/YDbgz-ETAbI/AAAAAAAABr8/Vz4WnMwDddYJPtAgBpHBtW4-janh0kAXgCLcBGAsYHQ/s2048/pdog%2B3%2BIt%25E2%2580%2599s%2Bin%2Border%2Bfor%2Ba%2BReason.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1615" height="640" src="https://1.bp.blogspot.com/-5NMa5Q_2quc/YDbgz-ETAbI/AAAAAAAABr8/Vz4WnMwDddYJPtAgBpHBtW4-janh0kAXgCLcBGAsYHQ/w504-h640/pdog%2B3%2BIt%25E2%2580%2599s%2Bin%2Border%2Bfor%2Ba%2BReason.jpeg" width="504" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">It's in order for a Reason (2020)<br />© Amber Day Scott</td></tr></tbody></table> <p></p><p><span style="font-size: medium;">Experiencing difficulties in life in her formative years' involved engagement in reading voraciously. It was the one thing that a person can do to create a very personal world. Day Scott loved the magical power of books and their escape from reality. </span></p><p><span style="font-size: medium;"><i>“I realize in retrospect that I was quite disappointed in my reality, and preferred to escape into a dream world of someone else’s story. I have evolved over the years and no longer crave escape. I savor each precious moment and not race ahead to the next adventure. I now read to grow, rather than read to avoid.” </i>- Day Scott</span></p><p><span style="font-size: medium;">Day Scott is currently working on two bodies of work that encompasses an exploration of spiritual identity and interconnectivity. A personal disconnect from her birth religion led to a journey towards something new and indefinable. In the first collection, in utter concentration and true to her own beliefs, Day Scott interprets her personal experiences in a series that continues to grow and evolve. </span></p><p><span style="font-size: medium;">The second body of work is a collaboration with artist partner Simon Welch. It is an effort that has taken over two years in a process that gathers force in a variety of topics such as the current political climate, general Whiteness: White culture, White privilege, White saviors according to western beliefs, and cultural appropriation. It is an honest examination that attempts to go deep into personal culture and history. The collection is scheduled to debut for public viewing in the summer of 2021. </span></p><p><span style="font-size: medium;">Day Scott’s diligent perseverance and attention to detail sum up the majority of her creative process. Pre-work and research are extensive. Working in a series of five to ten pieces at a time paired with meticulous planning of the creative outcome is essential before commencing any work with materials. Day Scott enjoys working on her art in the evenings. Sometimes on weekends, she works ten to twelve continuous hours. Coffee, nuts, and cheese are favorite snacks to keep the energy going. Benjamin Biolay or Nouvelle Vague are favorite musical artists she likes to stream to set the tone while working. Day Scott commits to total concentration in a near-spiritual experience elevating her art to a meditative state. Time-lapse videos are another enraptured layer that records her work in progress which illustrates the artistic visual storytelling of her pieces. </span></p><p><span style="font-size: medium;">With strong formative influences including those from a string of survival jobs, Day Scott achieved her artistic endeavors little by little before becoming a full-time artist. Important mentors had a grateful and meaningful impact on her work. Mark McDowell, a professional artist in Scottsdale, Arizona gave her guidance and perspective in professional opportunities. Margie Johnson Reese (Wichita Falls Alliance for Arts and Culture) taught her how to foster public interest in the arts in ways that increase opportunities for all, rather than being motivated by individual pursuits. Becky Rake and Linda Deason, gallerists and owners of 9th Street Studios, have mentored with tender care through the value of community. Their agenda is to welcome many artists by “leaving the door open” and by helping people feel connected to artistic pursuits. </span></p><p><span style="font-size: medium;">In addition to Day Scott’s creative work and exhibitions, she is director and curator of the 9th Street Studio Gallery and is an administrative assistant for the Wichita Falls Alliance for Arts and Culture. Her work has been featured in the Juanita Harvey Gallery at MSU, the Kemp Center for the Arts, the Tulsa Nude Art Show, and the <b><i>Homage</i></b> juried exhibition in Rosendale, New York. Solo exhibitions include the Pedroche Gallery in Dallas and the Cattle Track Art Gallery in Scottsdale, Arizona. The most current body of work titled: <b><i>Something Bigger</i></b> had an impressive and profound presence at the Whiteside Museum of Natural History in Seymour, Texas. The exhibition opened in mid-November 2020. Due to the positive audience response, the exhibition was extended through the end of January 2021. </span></p><p><span style="font-size: medium;"><br /></span></p><p><span style="font-size: medium;">Seeking knowledge of the universe Amber Day Scott adheres to the following personal philosophy, <b><i>“We keep what we have by giving it away.” </i></b></span></p><p><span style="font-size: medium;"><br /></span></p><p><span style="font-size: medium;">For more on Amber Day Scott please visit: </span></p><p><span style="font-size: medium;"><b>Wichita Fallas Alliance for the Arts & Culture:</b> <a href="https://wichitafallsarts.org/about/staff/amber-day-scott/ " target="_blank">https://wichitafallsarts.org/about/staff/amber-day-scott/ </a></span></p><p><span style="font-size: medium;"><b>9th Street Studios:</b> <a href="http://www.9thstreetstudios.com">http://www.9thstreetstudios.com</a></span></p><p><span style="font-size: medium;"><b>Whiteside Museum of Natural History:</b> <a href="https://www.wmnh.org/something-bigger-exhibit" target="_blank">https://www.wmnh.org/something-bigger-exhibit </a></span></p><p><span style="font-size: medium;"><b>Amber Day Scott at LinkedIn:</b> <a href="https://www.linkedin.com/in/amberdayscott" target="_blank">https://www.linkedin.com/in/amberdayscott</a></span></p>Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com3tag:blogger.com,1999:blog-1235172441912175933.post-32518390619028875852020-07-08T03:21:00.000-05:002020-07-08T15:28:53.551-05:00Armando Sebastian: Vestiges of a Mystical Paradise<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Boys in the Garden<br />
Oil on Canvas<br />
Armando Sebastian</td></tr>
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Armando Sebastian is an artist, a poet with a brush who is devoted to creating ideals of harmony through art that moves our emotions. It is a perfect escape of everyday reality and an expression of creative imagination. Distinctively dazzling, Sebastian’s art establishes a presence that is palpably alive. Full of imagery and ritual, it is art that has the power to represent and create spectacular, timeless, flourishing. His poetic body of work embodies vestiges of a mystical paradise. </div>
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Sebastian was born in Monterrey, Nuevo León, Mexico where he pursued a career at the Autonomous University of Nuevo León. Art was ingrained in his heart from an early age, therefore, becoming a relentless renaissance man: Sebastian designed, cut fabrics, made costumes, created jewelry, continuously painted, ornamented every space in his room as a youth, and for hours dreamt endlessly about scenes that would later become his emblematic paintings that are now highly sought after.</div>
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Armando Sebastian is a self-taught artist and most of his learning came from pouring over hundreds of volumes of art books. Being drawn to the Surrealist art movement, medieval art, 18th Century art, religious imagery, and <i>Ex Votos</i>, a type of Mexican artistic religious iconography, Sebastian implements symbolic meaning and dimension in his work. </div>
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In his early years, Sebastian grew up watching Japanese anime cartoons that included fantastic beasts, powerful beings that resided over dark, evil deeds, and good characters that possessed human qualities that redeem the world.<br />
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Mexico City-based Spanish painter Remedios Varo became a strong, early influence. Sebastian, in his enigmatic paintings, makes use of androgynous beings engaged in emotional expressions such as letter writing, poetry recitations, proclamations of love, and even sadness with transparent, diamond-like tears over the face of his subjects. Some depictions engage in magical arts and even the occult and shamanism or <i>curanderismo</i>. </div>
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Another major influence in Sebastian’s work is French post-impressionist painter Henri Rousseau. In Sebastian’s series: The Garden of Good and Evil, a few elements of Rousseau’s paintings can be seen as an influence. The piece titled: Boys in the Garden depicts a paradise garden oasis full of fragrant flowers, a cult to the god of beauty and ecstasy, colorful, curious, and perhaps even picaresque with youthful prowess, one boy’s eyes can see, while the other boy is blindfolded. In the resplendent and sumptuous blues and greens, birds of paradise, a heavenly waterfall, several wild birds, and even a poisonous snake about to devour a rabbit serve as a reminder that even in paradise there will be room for evil. </div>
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<tr><td class="tr-caption" style="text-align: center;">Indra & Eloise / The Thieves of Hearts<br />
Oil on Canvas 36x48 in<br />
Armando Sebastian</td></tr>
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Sebastian has stated that his inspiration comes mainly from life experiences, childhood dreams, and magical childhood stories. His sense of embellishment and decorative exquisiteness can be fully appreciated in the painting: Indra & Eloise / The Thieves of Hearts. The depiction is of two personages endowed with lavish, expressive eyes flying on a vivid and mysterious magic carpet. The dramatic gowns are richly ornamented with gold threads, soft, thick velvet, and jewels from far away lands. Black dots applied on the subjects are a resemblance of the eternal black hole of our universe or perhaps a <i>kohl</i> marking to ward off evil spirits. The black dot is all-powerful and is the spiritual sight that can see things that the physical eyes cannot see. There is no need to interpret the inherent genders, the narrative is gloriously imperial and their journey is seemingly frozen in venerable tranquil beauty lit by beaming moonlight. </div>
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Sebastian studied the art of Frida Kahlo and Leonora Carrington. Both women artists left an impressive formality of style that Sebastian ceremoniously renders admiration by enveloping elements into his artwork. In Lagrimas de Cristal / Diamonds of Sorrow, a boy is consumed by sadness and aching for love. A clear homage to Kahlo’s sorrow and personal pain can be admired in the wet, droopy eyes of the boy who lets out his cry with crystal-diamond beads and an emotional, unrequited love letter written on the blue wall. You can’t ignore the counted tears on the table without also admiring his ruby-red lips that spark a sense of forgiveness for the misdeed. </div>
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<tr><td class="tr-caption" style="text-align: center;">Lagrimas de Cristal / Diamonds of Sorrow<br />
Oil on Canvas 30x40 in<br />
Armando Sebastian</td></tr>
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<span style="text-align: justify;">In Parallel Universe / Ciervos en Primavera, Sebastian applies his deep understanding and connection to the art of Leonora Carrington. In this scene, a powerful act of his imagination depicts a divine world with a sense of time-related to the here and now, but also eternity. His space and dimension for creation are open and boundless. It brims over and you’re pulled in. It's a different world with an alchemy of symbols. It's a scene that invites the viewer to step back and let you observe details and small moments. Glorified in the power of color to awake love and passion, there is a boy hidden behind an evergreen garden of perfumed blossoms begging for pollination. Drawn by his sense of smell, his masked, peeking eyes are oblivious of a hungry, black, serpent eating a fawn and his defeated mother. In his harmonious garden, he stands tall like the obelisk at the distant hills and he is master of his paradise. The scene is framed by a theatrical red curtain, perhaps a symbol of palpitating blood, he’s in another mysterious dimension, unbeknownst to him that the viewer is observing his world. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Parallel Universe / Ciervos en Primavera<br />
Oil on Canvas 48x60 in<br />
Armando Sebastian</td></tr>
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Armando Sebastian is deeply connected to his Mexican roots. Culture plays a major role in his work. He carries with him a sketchbook so that wherever he may be, he can doodle ideas that come to mind. His love of music such as boleros, ballads, and electronic music, poetry, coffee, and chamomile tea nourish his senses while he works. His process for each piece usually starts with the burning of incense, a shrine of objects, and a collage or inspirational board that fills his studio with artistic energy. He’s mostly inspired to work in the early dawn hours, but he also works at night. His studio is his sanctuary. </div>
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Sebastian’s hope for his extensive body of work is to transcend time, language, and cultural boundaries. He hopes to reflect on human experiences and to record the expressive mind that will live on.</div>
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For more on Armando Sebastian and his work visit: </div>
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<a href="https://www.armandosebastian.com/"> https://www.armandosebastian.com</a><br />
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<tr><td class="tr-caption" style="text-align: center;">Armando Sebastian Artist<br />
Photo © Leticia Alaniz</td></tr>
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Written by</div>
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© Leticia Alaniz</div>
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All Rights Reserved </div>
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Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com0tag:blogger.com,1999:blog-1235172441912175933.post-64792056957590962322019-12-06T11:47:00.000-06:002019-12-06T12:09:53.345-06:00Brent Kollock: Stories from the streets of Mexico<div dir="ltr" style="text-align: left;" trbidi="on">
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Photograph © Brent Kollock</td></tr>
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Deep in the hills and valleys of Mexico lie spellbinding tales of the people that have inherited the secrets of living in ancestral tradition and newly adopted modern ways. Quietly capturing these stories is the everlasting curiosity and talent of life and street photographer Brent Kollock. </div>
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His travels have led him to the everyday lives of market vendors, street circuses, performers, carnivals, children, street food, religious ceremonies, Prehispanic rituals, and even burials. Different regions have provided a background of photographs in their purest form, setting the stories in their most natural, vulnerable, and unobtrusive capture of a reality that can be seen today. It’s a stark, black and white v<span style="color: #222222; font-family: sans-serif; font-size: 14px; text-align: start;">érité</span> style with subjects stopped in an eternal moment in the Mexican states of Jalisco, Nayarit, Colima, Guanajuato, and Puebla. </div>
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Photograph © Brent Kollock</td></tr>
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Photographing everyday life confronts Kollock to see and live like a local. To acquire a delicate sensibility to his surroundings and understand the customs of the natives and the realm of their triumphs and hardships of survival and celebration of life. People commune with animals, with the past and the present, with the underworld, the dead and the living. Their food becomes ritual and ceremony becomes blurred with dreams.</div>
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Armed with such sensibility, Kollock’s craft and skillful command of the camera, have led him to closeness with his subject to chronicle moments as they happen. In many of the photographs, his subjects’ eyes seem to hypnotize and speak to the viewer which can be interpreted as an invitation to look in.</div>
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© Brent Kollock</td></tr>
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Brent Kollock is an artist of life, a poet, an artist documenting on 35mm film and digital capture. <span style="text-align: left;">They’re scenes of relevance and passing time. </span><br />
<span style="text-align: left;">There’s an almost spiritual quality to his photographs. His images are filled with the beauty and absurdity that never fail to evoke a strange yet intimate sense of humanity. </span></div>
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Kollock’s perseverance to capture humanity has led to an exploration of the significance of the stories he has brought from far away lands. At the heart of his stories, lies the human spirit and the quest of seeking peace and harmony. A quest to establish meaningful connections to people and animals and a clear representation of who we are.</div>
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© Brent Kollock</td></tr>
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Kollock’s body of work is of light and darkness and assumes the perspective of his subjects. There is a fundamental narrative of struggle, survival, joy, and even oppression and freedom. His subjects emerge from the shadows and they belong to their societies, they may be solitary or in groups of families, but all have intricate and fascinating stories to tell. They’re a reminder that all of humanity has a fundamental need for expression. And the photographs serve as a lasting monument to his talent.</div>
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<tr><td class="tr-caption" style="text-align: center;">Artist, Photographer, Writer Brent Kollock</td></tr>
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Brent Kollock presents <i><b>A World Away Just Next Door: Street Photography in Mexico</b></i> in a solo exhibition at the Latino Cultural Center, Dallas. Fine art black and white prints are selected and curated by legendary artist and activist Viola Delgado.</div>
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The exhibit is free and open to the public on November 22 through January 4th, 2019.</div>
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2600 Live Oak Street - Dallas, Texas 75204</div>
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For more on Brent Kollock or to purchase his art photography books visit:</div>
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https://www.brentkollock.com</div>
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Written by Leticia Alaniz</div>
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© 2019</div>
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Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com1tag:blogger.com,1999:blog-1235172441912175933.post-41149261467339244932018-06-25T22:56:00.000-05:002018-07-03T11:52:23.826-05:00Margarita al Pastor - It's a Tacos al Pastor Devilish Cocktail<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Margarita al Pastor<br />
Photograph © Leticia Alaniz 2018<br />
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Want to know about a tongue tickling summer beverage that has tacos al pastor written all over it? It’s the Margarita al Pastor. Literally, if you love tacos you don't neeed a translation for <i>tacos al pastor</i>. If you like the namesake tacos, you’ll love the take on this smooth Margarita that’s an explosion of flavors reminiscent of the famed Mexican street tacos. It’s a <i>diablura</i> (devilish) of a cocktail that will make you hungry and by the third sip, you’ll be hooked. </div>
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It starts by combining spices, herbs, pineapple juice, lime juice … and all that goes into a traditional Margarita (except triple sec, it's sweet and sour enough without it). Creative mixologist Gabriel Orta shares his recipe for a spicy cordial that can be pre-made for the Margarita al Pastor. But my take on the Margarita also includes muddled cilantro and basil as the base for the preparation. It’s kind of like the fresh cilantro you add to your tacos before enjoying. </div>
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Have a Margarita al Pastor and enjoy the recipe below. Let me know in the comments what your friends or family say about it when you surprise them with this amazing taco-in-a-glass cocktail that pairs the flavors of Mexico, elixirs, and the famed blue agave mezcal of the regions. One last thing, I recommend you use good quality spirits. </div>
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<b>First Step: Chorizo Spice Syrup</b></div>
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<b>Ingredients:</b></div>
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2 qt of water</div>
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1/4 C cumin seeds</div>
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1/4 C smoked paprika</div>
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1/4 C black peppercorns</div>
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3 dried chiles, halved and deseeded (Ancho, Morita, or Chipotle)</div>
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1 C sugar</div>
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1/2 C mezcal joven</div>
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In a large pot, bring water to a boil. Add the cumin seeds, smoked paprika, peppercorns, and dried chiles. Stir and boil, uncovered, for 10 minutes. Add sugar and stir to dissolve. Once the sugar is dissolved, reduce heat, simmer for another 5-10 minutes. Turn off the heat. Strain liquid into a container. When liquid has cooled, pour half (4 cups) into a container and add 1/2 a cup of mezcal joven. The rest of the spice syrup can be reserved for up to a month in a sealed container, refrigerated for another batch. Just make sure to add the 1/2 cup mezcal before making more cocktails. </div>
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<span style="font-kerning: none;"><b>Margarita Al Pastor</b></span></div>
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<li style="color: #1b1b1b; font-family: Helvetica; line-height: normal; margin: 0px;">1 oz fresh lime juice</li>
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<li style="color: #1b1b1b; font-family: Helvetica; line-height: normal; margin: 0px;">1 oz Chorizo spice syrup</li>
<li style="color: #1b1b1b; font-family: Helvetica; line-height: normal; margin: 0px;"><span style="font-kerning: none;">1 1/2 oz 100% blue agave mezcal </span></li>
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<li style="color: #1b1b1b; font-family: Helvetica; line-height: normal; margin: 0px;">1 Tbsp kosher salt</li>
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<li style="color: #1b1b1b; font-family: Helvetica; line-height: normal; margin: 0px;"><span style="font-kerning: none;">Roll a cocktail or traditional Margarita glass around with a cut lime or a piece of pineapple, then press into the spicy rimming sugar on a plate. Set glass aside. In a cocktail shaker muddle a few leaves of cilantro and one basil leaf. Next, fill a cocktail shaker with ice. Add lime juice, pineapple juice, Chorizo Spice Syrup, and mezcal. Cover and shake until mixed and chilled, about 30 seconds. (In general, the drink is ready by the time the shaker mists up.) There should be a froth on top from the vigorous shaking. Fill glass with ice cubes, Strain margarita into the glass. Finish with a little dusting of the spicy rimming sugar and garnish with a pineapple slice. Serve. </span></li>
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<li style="color: #1b1b1b; font-family: Helvetica; line-height: normal; margin: 0px;"><span style="font-kerning: none;">© Leticia Alaniz 2018 All Rights Reserved </span></li>
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Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com3tag:blogger.com,1999:blog-1235172441912175933.post-5917229595427767352018-04-25T13:29:00.000-05:002018-04-26T20:04:55.239-05:00Leah Chase - One Bowl of Gumbo at a Time<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Chef Leah Chase in her kitchen at Dooky Chase Restaurant, New Orleans, LA<br />
Photo by Cheryl Gerber NOLA </td></tr>
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One of the most iconic dishes from New Orleans, Louisiana representing Creole cuisine is seafood gumbo. With the mighty Mississippi river going through the heart of New Orleans pushing water straight into the Gulf of Mexico, it creates an array of treasures from the sea which define much of New Orleans Creole and Cajun cuisine. </div>
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Just as iconic is a woman who doesn’t need much of an introduction. She’s the undisputed Queen of Creole that might as well have the title of Queen of Hearts. Born in Madisonville, Louisiana, she possesses magical culinary skills and a big heart with which for over seven decades, has been cooking for many of the Civil Rights leaders, the rich and famous, musicians, poets, novelists, visitors, American presidents, world diplomats, blacks and whites, and anyone with an appetite for good, home-cooked, creole food in her legendary restaurant Dooky Chase. </div>
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Mrs. Leah Chase came into the business when she married jazz musician Edgar “Dooky” Chase II. His parents owned a corner stand that sold lottery tickets and homemade po’boy sandwiches. Mrs. Chase worked in the kitchen during the 1950’s, and over time, Leah and Dooky took over the stand and converted it into a restaurant establishment. Leah presided over the kitchen and was the visionary of home-cooked creole food. She was not formally trained yet her hospitality only matched the service. She quietly served at a time when tensions in the south were brutal and the Jim Crow laws became the canon for segregation, discrimination, and cruelty. </div>
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At Dooky Chase’s, one bowl of gumbo at a time, Mrs. Chase fed the hungry for equality, the hungry for the right to vote, the hungry for a right to live and raise families in a society of equal justice for all. She fed the Civil Rights leaders in the 1960’s that would front the fight to end racial injustices and violence. Her restaurant became the meeting place where strategies would be planned by Martin Luther King Jr., the Freedom Riders, and student activists. Dooky Chase was the only place where the black communities in New Orleans could meet despite the “secret meetings” being illegal. Quietly, congregated to take a stand against the oppressors, gumbo and fried chicken became the nourishment that would become the Civil Rights Movement. </div>
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Much of the celebrating in New Orleans revolves around food. Therefore, New Orleans was the destination for my birthday in November. I had the honor of celebrating with Mrs. Leah Chase and my loved ones. The gumbo she made that day was extra special with a generous serving of blue crabs and gulf shrimp. The heartiness of the stew is the story of the triumph to make the world a better place. Her voice and loving heart touch you in a way that will forever prompt you to aspire to become a better person.<br />
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Of course, we talked about food and how it shapes us today. Food creates memories and eventually becomes the tool of communication between cultures and races. Best of all food becomes a tool for peace. Because you can’t sit down for peace talks without good food. Mrs. Chase is a defender of women’s rights. We talked about what it means to be a woman and a part of the system today where women have come a long way in human rights. And speaking of culture, she mentioned the Oaxacan mole negro, and how much she loves the Mexican indigenous foods and the deep south tamales of Veracruz. She loved meeting Vijay and told him to bring her a plate of traditional Andhra Indian food on our next visit. So I made a promise to return for another bowl of her creole seafood gumbo. </div>
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<tr><td class="tr-caption" style="text-align: center;">Chef Leah Chase & Leticia Alaniz<br />
Photo by Vijay Marrivada</td></tr>
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<b><span style="font-size: large;">- “You think creole gumbo is special? Food is precious and we must treat it like that. And I love a person that loves food and comes from so far away to visit me to try my food. I know you and I have a connection thru food so that makes you special." </span></b> </div>
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Leah Chase tells it like it is. I will forever treasure her words which did make me feel very special in her kitchen in New Orleans. </div>
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Mrs. Leah Chase has been honored with numerous awards and accolades:</div>
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James Beard Lifetime Achievement Award (2016)</div>
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NOLA Award Best Fried Chicken (2014)</div>
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James Beard Foundation Who's Who of Food & Beverage (2010)</div>
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Southern Foodways Alliance Lifetime Achievement Award (2000)</div>
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Honorary Degree Tulane University</div>
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Honorary Degree Loyola University New Orleans</div>
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Honorary Degree Johnson & Wales University</div>
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Times-Picayune Loving Cup Award (1997)</div>
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Honorary Degree Our Lady of Holy Cross College</div>
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Honorary Degree Madonna College </div>
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Among her other projects are a televised cooking show devoted to Creole cooking, and is the author of several cookbooks:</div>
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<li style="margin-bottom: 0.1em;"><i>The Dooky Chase Cookbook</i> (1990) </li>
<li style="margin-bottom: 0.1em;"><i>And I Still Cook</i> (2003)</li>
<li style="margin-bottom: 0.1em;"><i>Down Home Healthy : Family Recipes of Black American Chefs</i> (1994)</li>
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<span style="color: #222222; font-family: sans-serif;">Written by Leticia Alaniz</span></div>
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Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com0tag:blogger.com,1999:blog-1235172441912175933.post-36498396199434462772018-03-14T18:54:00.000-05:002018-03-15T12:24:47.944-05:00A Tree Within / Árbol Adentro - A Byzantine Mosaic In Honor of Octavio Paz<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">A Tree Within / Árbol Adentro<br />
Byzantine Glass Mosaic by Leticia Alaniz © 2018</td></tr>
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A pattern of design made from thousands of tiny brilliant cut glass, stone, shells, gold, or ceramic pieces has been the subject of awe and admiration in many cultures. The physical presence of a mosaic mural has been since time immemorial a system of pictures to tell stories and convey histories. It has been the art of eternity which explores vibrant, colorful and energetic pasts. </div>
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Among the many design elements is the tree of life. It’s a concept that symbolizes the beginning of life and the origin of everything. For thousands of years in almost all cultures, religions, mythologies, and philosophies, the tree has been an icon and a theme that we encounter in daily life. As a sacred symbol, it has mystified and has been the subject of celebration of deities and is a direct link to the divine and the mythical cosmologies. </div>
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The tree has roots that reach deeply into the depths which take nourishment from Mother Earth and thru its upward reaching branches it absorbs light from the sun. A tree symbolizes generations of families that grow and create new fruit to begin a new generation. Trees have a cycle of life that regenerate with the seasons making it a symbol of immortality, rebirth and the duality of life and death. The grandness of a tree connects all forms of creation, heaven, the underworld, and knowledge that resides in our past, present, and future.</div>
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In his poem Árbol Adentro / A Tree Within, Mexican Nobel Laureate Octavio Paz created a metaphysical metaphor of an inverted tree which grows within his body. With its canopy and leaves up in his head, the words depict an illustration of desire inspired by the beauty and presence of a woman. The poem establishes that “Its roots are veins…” The branches stretch out into the inner depths of his nerves and the body’s extremities, “Thoughts are its tangled foliage…” The poet describes an escalating passion that ends with a metaphorical touch “Whose glance sets it on fire…” provoking the love and the other person’s presence to be inflamed with desire. The themes of the tree suggest a sexual encounter with the pomegranate seeds in reference to a man’s seed, “Day Breaks / In the body’s night…” Its an acknowledgment of his need for the love of the woman. In the final lines, the poem entices the other to come closer and, “Hear the tree speak.”</div>
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<tr><td class="tr-caption" style="text-align: center;">Mexican Poet Octavio Paz</td></tr>
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There is no doubt that Octavio Paz left his mark on the world of poetry and is a force to be reckoned with. Just the same, his poetry has greatly influenced me in the creation of my own art, photography, and writings. As an homage to his poem Árbol Adentro / A Tree Within, I created this mosaic tree in Mexican and Venetian smalti tesserae glass in the tradition of the ancient Byzantine art. With branches of pure gold smalti tesserae and cobalt blue representing a life cycle. Red as a symbol of blood and earth reaching up to the trunk and the branches feeding life to the tree giving it a sense of timelessness and eternal life. </div>
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<tr><td class="tr-caption" style="text-align: center;">Filmmaker & Artist Leticia Alaniz<br />
© 2018<br />
Mexican Huipil Crafted & Designed by Poet Natalia Toledo</td></tr>
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A Tree Within<br />
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A tree grew inside my head.<br />
A tree grew in.<br />
Its roots are veins,<br />
its branches nerves,<br />
thoughts its tangled foliage<br />
Your glance sets it on fire,<br />
and its fruits of shade<br />
are blood oranges<br />
and pomegranates of flame.<br />
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Day breaks<br />
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in the body's night.<br />
There, within, inside my head,<br />
the tree speaks.<br />
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Come closer - can you hear it?<br />
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© Leticia Alaniz 2018</div>
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All Rights Reserved</div>
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Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com6tag:blogger.com,1999:blog-1235172441912175933.post-24842718015481284392017-11-13T20:21:00.000-06:002017-11-14T12:28:53.981-06:00Black Margarita - Margarita Negra<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Black Margarita - Margarita Negra<br />
Photo Leticia Alaniz © 2017</td></tr>
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<span style="font-size: large;">Margaritas are quite famous, but have you tasted a black margarita? A black margarita is like a piece of the night in which the moon, the stars, and dreams culminate in a mysterious, dark and elegant cocktail. It’s a romantic and gothic elixir that will wake your most poetic nocturnal inspirations.</span></div>
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<span style="font-size: large;">It pairs well with a black tie tuxedo and a little black dress. I’m nocturnal by nature and I love entertaining at night with delicious food by the moonlight. So I served black margaritas at my most recent Noche dinner. Noche is my secret dinner club in which friends gather for a feast, amazing cocktails and wine. </span></div>
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<span style="font-size: large;">Black margaritas are simple. Its foundation is still tequila, sour mix, and fruit liqueurs. But for this margarita I took a chance on an obscure or lesser known tequila from Los Valles, Jalisco called El Padrino de Mi Tierra. (El Padrino - The Godfather). </span></div>
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<span style="font-size: large;">Only 100% blue agave is used in this Reposado Tequila. Brick ovens roast the agave for 36-54 hours, allowing the tequila to retain the sweet natural mellow flavor. Slow-fermented 48-60 hours and then distilled in copper pot stills for a rich taste with notes of caramel and oak. It’s excellent for high-end tequila cocktails.</span></div>
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<span style="font-size: large;">El Padrino Reposado tequila is “rested”, which means it will have aged in oak between two and eleven months prior to bottling. This gives the tequila a light color and depth of flavor. </span></div>
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<span style="font-size: large;">The black margarita gets it’s dark, striking black color from the Blue Curaçao and raspberry liquors. Serve very chilled and enjoy the midnight stars! </span></div>
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<li style="font-size: 18px; margin: 0px;"><span style="font-size: 14px;"></span>2 ounces El Padrino Reposado tequila</li>
<li style="font-size: 18px; margin: 0px;">1 ounce Blue Curaçao</li>
<li style="font-size: 18px; margin: 0px;">1 ounce raspberry liquor such as Chambord </li>
<li style="font-size: 18px; margin: 0px;">1 splash of lime juice</li>
<li style="font-size: 18px; margin: 0px;">fill with sour mix and cranberry or pomegranate juice</li>
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Combine ingredients in a shaker with ice. Shake well and pour into a salt or sugar- rimmed glass. Garnish with lime. </div>
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Written by Leticia Alaniz</div>
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Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com2tag:blogger.com,1999:blog-1235172441912175933.post-72181554084975994702017-08-29T01:14:00.002-05:002017-08-29T09:34:55.101-05:00Andhra Prawn Pickle or Royyala Pachadi<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Andhra Prawn Pickle/ Royalla Pachadi<br />
Photo by Leticia Alaniz © 2017</td></tr>
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Spices and seafood are magic in southern India. When spices are used to preserve fruits, vegetables, meats, and seafood in combination with dried chiles, you’re tapping into the vast culinary treasures that India has to offer with a wealth of thousands of years of pickling. Each region has their family recipes that are generational and the ancient practice of preservation by curing with salt, vinegar and sugar were a way to keep perishables for longer periods of time. Especially long after harvest seasons or when droughts or other natural disasters might have caused food scarcity or ruined crops. The richness of pickling has evolved over centuries and it’s not easy to pinpoint exact recipes or methods of preservation. </div>
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The tradition of pickling can be traced back since time immemorial and perhaps that’s why almost every culture in the world discovered their own methods to preserve their food. But in India, drying and pickling is a long standing tradition that seems untouched by time. Particularly so in the southern states of the subcontinent.</div>
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My first taste of prawn pickle was in Andhra where I was given a very proper Indian welcome with the most aromatic, unforgettable introduction to the wonderful taste of the preserved coastal prawns. It was culinary love! Lyrical descriptive words don’t do it justice. But I will say that prawn pickle can be described as smoky, sour, tangy, hot, spicy, gingery and savory. It’s one of the first things I wrote about in my journal. Those are amazing gastronomical experiences that I’ll never forget. </div>
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After being on the hunt for a really good prawn pickle as I remember in Andhra, I simply could not find one commercially prepared back in the US that had the same amazing flavor. I longed for the prawn pickle that gave any Indian meal an instant burst of tantalizing flavor. I romanticized the aroma from my memories and it became an obsession to find it. I didn’t have such luck. </div>
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I felt the hunger of exoticism and ancient gastronomy, of tea and cardamom, of ginger and golden turmeric, hunger for the sensuality that wakes the senses with the aroma of the wet earth during the monsoons and the sweet and sour of Andhra pickles. Therefore, in my search I studied many commercial pickles and their flavors, some were described to me orally but not in precise measurements, others I found in books, but not quite the same, until I developed my own recipe for the prawn pickle I had been looking for for so long. It’s the flavor that took me back to the India I remember, to the people and to the food that harbors so much history and the perpetual fruits of it's land. </div>
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For this particular Andhra prawn pickle or <i>royyala pachadi</i> as it's called in telugu, I think I’ll start my own tradition of pickling recipes and keep this recipe in the family. But I do hope that all that come to visit me may enjoy what makes this recipe so special, and may we raise our glasses to Indian culinary traditions and to many shared plates.</div>
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<tr><td class="tr-caption" style="text-align: center;">Photo Leticia Alaniz</td></tr>
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Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com0tag:blogger.com,1999:blog-1235172441912175933.post-23499352520774465142017-06-09T19:46:00.000-05:002017-06-14T19:04:30.145-05:00Sandra Lara - The World I Live In<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Sandra Lara Artist<br />
Photo by Leticia Alaniz © 2017</td></tr>
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Sandra Lara is an artist surrounded by mystery, enigma and spirituality from which she draws across her canvases a susceptible aura of emotions that contain many different variants. One of the variants expresses deep feelings of womanhood, of feminism, and inner thoughts that belong only to women. Another variant is the pain of living thru traumatic childhood experiences that reflect healing thru vivid colors. Among her canvases, Lara owns her space and time. It's the exploration of her sense and outlook on life that become the colors and voice of her collected thoughts and life experiences.</div>
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Lara is a remarkable artist that does not fit into any kind of mold or tradition of art movements. Her acrylic work is steeped in the inner workings of lines depicted as stories of individuals and their emotions. Collections of her work are a reminder of the precise engravings of Mexican engraver and painter Francisco Toledo who often depicted humans, animals and the dead in one cosmos. Lara’s artwork contains surreal images with stark movement and broad, direct brushstrokes that invoke poetry and the illustration of our psyche without a designated time present. Many of her very personal pieces are autobiographical with abstract, fantasy and in a sense Freudian elements that very well call into order the writings of André Breton. Lara’s style can best be described as pure art with life and dreams. </div>
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<b>Sandra Lara</b> - I had some happy, sad and traumatic times in my childhood. I was very shy and withdrawn. I was born with epilepsy which caused me to struggle academically in school but my teachers just labeled me as the “quiet” or “shy girl”, or assumed I couldn’t speak English. I was an easy student who didn’t talk to anyone; I didn’t ask any questions when in reality I was “zoning out” or having small epileptic seizures. I struggled thru elementary, junior high and high school, not knowing or ever being tested for learning disabilities and did not get diagnosed until adulthood. All the while, I had a severe math learning disability and ADD. I was bullied in school, had no friends and was academically lost. The only thing I had was my family. We struggled thru traumatic times losing our seven-year-old sister who died when I was five years old and two years later losing our two-year-old brother when he choked on a balloon while he was at daycare. Our mother worked at the daycare and was there and witnessed the tragic event. The heartaches and struggles brought our family incredibly close together and we still have a very special strong bond. The suffering loss at such a young age made me look at life differently than others my age. I was an “old soul” by age 10. </div>
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<b>LA -</b> Life experiences seem to find a way into our daily life thru different forms of expression. We may become artists, writers, travelers, musicians or we may become great teachers, wonderful parents, etc… But art is always a very personal form of expression. I’m glad your childhood heartaches reflect the healing and love I sense in your artwork. Did you always know you would become an artist? </div>
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<b>Lara -</b> No, I took an art class in high school and was told by my ninth grade teacher to “give up this drawing thing” and try “homemaking" instead because I struggled drawing a pair of shoes. In college, my major was actually in Social Work and I had to take an elective, so I chose to take a drawing class. I struggled throughout the whole class but was guided by Kathy Windrow. She was an amazingly patient, nurturing and talented instructor. She saw something in my work, specifically the final project of my self-portrait and asked me to join her in her painting class. My passion for art started after that. Today I model Kathy’s nurturing, patient, humorous style of teaching for my students where I teach at a jail education program. </div>
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<b>LA -</b> Did you go to a formal art school?</div>
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<b>Lara -</b> I started my formal art school training at DCCCD in 1994 at Eastfield College under the instruction of Kathy Windrow, whom I still consider a dear friend and mentor today. Eastfield College offered an incredibly nurturing environment for me. The Art Department was so gentle, patient, and welcomed me with open arms. In 1999 I started taking independent studies classes at SMU under the late Bill Komodore, Robin Koch, and Lorraine Tady, who are still dear friends and presently continue to mentor me. </div>
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<tr><td class="tr-caption" style="text-align: center;">Sandra Lara<br />
Countdown to the Meltdown 30x30 Acrylic on Canvas<br />
Photo Leticia Alaniz © 2017</td></tr>
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<b>LA -</b> Are you a storyteller thru your art? </div>
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<b>Lara -</b> I feel I’m telling the stories of the voiceless thru my art, becoming their voice, through my own language. The same goes for the recent Dallas Police shootings. Through my drawings, I’m telling the story through the brainwaves of everyone, the bystanders, officers, families, and the hospital staff. The day of the shootings, the first day that came through my mind was “I Can’t imagine the chaos that is going on in everyone’s mind, it must be like a bunch of electrical volts going crazy.” That’s what gave me the idea of studying the EEG drawings of brain waves and creating it into a piece of artwork. </div>
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<b>LA -</b> War and Peace are two opposites that seem to bring out human emotions and empathy. Do you think your art reflects your ideas and opinions on the modern world we live in even among tragedy?</div>
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<b>Lara -</b> The drawings I’m currently working on are about the tragic shootings the Dallas Police suffered on July 7, 2016. It’s hard to believe it’s almost been a year! I’m creating drawings based on the brainwaves of everyone involved in that tragic event. Many people were affected directly; the families of the victims, the nurses, the bystanders and of course the officers. </div>
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<tr><td class="tr-caption" style="text-align: center;">Sandra Lara<br />
Brain Activity: The Aftermath 7/7/16<br />
20x20 Ink on Khadi Paper<br />
Photo by Leticia Alaniz © 2017</td></tr>
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<b>LA -</b> Throughout history, there have always been tumultuous times. Ever since humans started living in communities and started competing against each other or against other tribes. The difference is that in our lifetime it seems as if it’s just all the more tragic with weapons of mass destruction. It’s a scary time we live in. </div>
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<b>LA -</b> Does the world today or social issues that are unjust upset you? How does that reflect on your artwork?</div>
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<b>Lara -</b> I work with incarcerated women at the Lew Sterritt Jail in Dallas and I collaborate with an incredibly gifted director, producer, and writer named Cynthia Salzman Mondell. She has a project called Sole Sisters in which the female art students in the jail education program share their life struggles with their artwork. Sole Sisters is a women’s empowerment project that asks the ladies when the last time they felt like a woman and to create the kind of shoes they wore. I can honestly say I have sincere empathy for many of these ladies. I know what it feels like to be ignored, labeled and bullied. I feel a sense of responsibility to help these women who are at their lowest point in their life by teaching them how to express their emotions thru art. I want to help them find some sense of self-worth, self-esteem, and value to their life. I feel so honored to be a part of this project. It compels me… I can’t hide or blind my eyes and soul to the heartache and social issues we experience today. I’m not an intellectual, a graceful speaker or a polished leader. But I am an artist. My creations will be my voice and let the world see things from my point of view. </div>
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<b>LA -</b> What are your spiritual beliefs and practices. Do you connect with a greater source or a spirit keeper?</div>
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<b>Lara -</b> I was raised as a Baptist, but I can honestly tell you that I have respect for all religion. I think every religion has something beautiful to offer to the world. I do pray to a bigger entity, but I don’t believe I have to go to church to pray. I pray to my God in private. I pray for peace, I always give thanks and I know I have a purpose. This directly takes me to my beliefs in life. My philosophy is to simply treat everyone with kindness, respect, and compassion. I believe that if someone helped you at a very trying time in your life, be kind enough to help someone else out. I believe we’re on this earth to help each other. To show compassion to those who society has cast aside like worthless garbage. To teach everyone that they have a voice. It may not be a vocal voice but thru art they can release their feelings and emotions and remain silent no more. </div>
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<b>LA -</b> Our family is our connection to our hearts and to the past of our ancestors. They’re the ones that give us a sense of purpose. Did your parents support you to become an artist? </div>
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<b>Lara -</b> Yes, I’m very blessed that my parents have always supported me as an artist. My family is my direct connection to my canvases. I feel very proud of my family. I have an amazing support system. Being an artist is not the easiest profession in the world (and expensive) but they always support me no matter what. We have been thru some of the most tragic and traumatic times any family can experience. The tragedies did not tear us apart, they brought us closer together and bonded us. I’m incredibly proud of my family. </div>
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<b>LA -</b> What kind of subjects do you mostly paint?</div>
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<b>Lara -</b> I paint mostly about emotions. But I represent the emotions of humanity and the force of suffering, the loneliness and the inner passion. I have been compared a lot to painter Michele Basquiat so I can honestly say that his work has had an influence on my work because of the beautiful poetry and language that he uses in his work and the way he speaks to his audience. Certain challenging episodes in my life have led to my creation of pieces like <i>‘Birds That Put The Bullies in the Box’</i> and <i>‘Countdown to the Meltdown’</i>. Both pieces are about my childhood memories of being constantly bullied as a child and about the heartbreak that came with all of those challenging times. </div>
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<b>LA -</b> Does heritage have a place in your art?</div>
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<b>Lara -</b> Yes, I’m very proud to be a Latina. Often times, the colors in my work are bright bold colors. I create drawings that are very tribal. My painting ‘She Warrior’ stems from my love of Kachina dolls. My parents told us to never give up. We are indigenous people. We are warriors and we are survivors. </div>
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Graduation: The Spirit of the Dancing Ladies<br />
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<b>LA -</b> What has been a highlight of your life and career?</div>
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<b>Lara -</b> I was asked to be represented by the prestigious art gallery Mary Tomás. It was such an incredible day for me. It meant my work had some value to it and it gave me a sense of worth. Another highlight of my career is being able to work with Emmy Award director Cynthia Salzman Mondell. It has been such an honor to be working with an incredibly talented woman. She has been a great mentor and dear friend in my life. My dreams for the future are to have my work in galleries not only here in the United States, but internationally as well. When I see a glimmer of hope in their eyes, that is my inspiration. </div>
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Past: Transition: Present<br />
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<b>LA -</b> Where was your first art exhibit?</div>
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<b>Lara -</b> I was very lucky to have such incredible teachers at Eastfield College (DCCCD) and they introduced me to the art world very early in my life as a student. I had my first art exhibit in 1995 for the Día de Los Muertos Show at the campus gallery. </div>
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<b>LA -</b> Do you like music? Does music influence your work?</div>
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<b>Lara -</b> Music plays a significant role in my life. I listen to everything. I’m a pretty eclectic person. In my work, it depends on what I’m painting or drawing. If I need to draw or paint something with lots of detail, then I listen to very soft music. If I need something that needs very broad brushstrokes, lots of colors, then I go with something more upbeat.</div>
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<b>LA -</b> Music as an art form inspires us and it also heals. What’s your studio setup and what’s a typical work day for you when you paint?</div>
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<b>Lara -</b> I don’t drink or smoke or prepare a special meal. I don’t think of food much when I’m working. I prepare mentally by making sure I have a very quiet moment. I have ADD, so I call my friends and family and tell them I’m about to begin work so I ask them to not disturb. To best manage my ADD I strive to have some form of routine every day. When the routine is disrupted or something is off my whole day is off balance. So I go to bed at the same time, wake up at the same time. I get distracted very easily when I work so I put on my headphones, start painting and go for it! But when I do come out of my studio, every now and then I like to bake delicious brownies that my family just loves! </div>
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<b>LA -</b> What motivates you to keep painting? </div>
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<b>Lara -</b> I fell in love with art many years ago, it woke up a soul that had been hurt, heartbroken and bullied for so many years. I paint with a pure heart, emotion, sincerity, and intuitiveness. My art is my voice. My art is the voice of those who suffer and the misfits. My art is my freedom and my sanity. I’m a very simple person. I don’t consider myself an intellectual because to me an intellectual means you are superior and I don’t consider myself superior to anyone. Yet at the same time that doesn’t mean I will be inferior to anyone.</div>
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<b>LA -</b> What inspires you the most? </div>
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<b>Lara -</b> Working with the incarcerated population; I work with women, men, young 17-year-olds and those that have been diagnosed with a major mental disorder. On the first day of art class they walk in with their head down, thinking they can’t learn because someone or life itself has broken their spirit and label them as stupid, dumb or lazy. Oftentimes it turns out about 90 percent of these broken human beings have a learning disability and are incredibly talented, smart and creative. They simply need a way to channel their strengths in a positive way. </div>
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<b>LA -</b> What has criticism on your work been like? </div>
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<b>Lara -</b> I have heard things like, “Can you draw?”, “Do you practice voodoo?”, “You need serious counseling”; and on the other hand, I have also been told that my work is incredibly soulful, emotional and highly sophisticated. I listen to all criticism and learn from it.</div>
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<b>LA -</b> Many people will ask what’s the purpose of art. Why create? Why do we write? I believe art <i>is </i>life and it’s the mirror of our humanity. It transports us to different corners of the world and in different times. </div>
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<b>LA -</b> Is there a city in the world that you feel is best suited for you?</div>
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<b>Lara -</b> I haven’t had the opportunity to travel much, but I hope to one day. I have gone to New Mexico. It was breathtaking and calm. Dallas is very hurried and always on the go. If I could pick up my family and move to another city it would definitely be New Mexico. </div>
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<b>LA -</b> New Mexico is one of my favorite places in the world too! There’s so much mystique and that’s one of the many reasons why it attracts so many artists from all over the world. They go for a visit and stay there to live. And that very mystique is a calling to pay attention to the calm and quiet, to nature and to spirits past. Is there a person in history living or deceased that you would have liked to have met and what would you tell them? </div>
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<b>Lara -</b> I would like to talk to my deceased cousin Norma, my grandfather Pedro, my sister Cynthia, and my brother Oscar. I would tell them that the anguish and pain I suffered when losing them has given me the ability to help others through their pain with art.</div>
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<b>LA -</b> You <i>are</i> your art and I’m very proud to know you. Gracias Sandra! <br />
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Sandra Lara is represented by Mary Tomás Gallery<br />
Contemporary Art Dealers of Dallas CADD<br />
<a href="http://marytomasgallery.com/" target="_blank">Mary Tomás Gallery</a><br />
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For more information of The Sole Sisters Film Project:<br />
<a href="http://solesistersfilm.com/" target="_blank">http://solesistersfilm.com</a><br />
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Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com1tag:blogger.com,1999:blog-1235172441912175933.post-65872217450474790722017-03-23T11:21:00.000-05:002017-03-23T11:21:13.637-05:00Bee's Knees - The Frank Meier Gin & Lavender Cocktail<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Bee's Knees - Gin & Lavender Cocktail original by Frank Meier<br />Photo Leticia Alaniz © 2017</td></tr>
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With all this lemon and lavender you’d think it’s high tea time hour. But for this drink that dates back to the hard times of the prohibition era, you’ll need a coupe glass, gin, lavender, honey and lots of freshly squeezed lemon juice.</div>
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The Bee’s Knees takes us to Paris’ enigmatic Bar Hemingway located in the lobby of the Hotel Ritz where a mysterious bartender named Frank Meier, who served as a spy during the French Resistance when the Germans occupied Paris in the second World War, authored the classic aptly named cocktail. </div>
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Meier trained at the legendary bar in New York’s Hoffman House Hotel and was in the eye of the hurricane during the prohibition of alcohol. Lots of underground gin was being served, yet it was of inferior quality. To mask the strong odor of the less than ideal gin, Meier added citrus and honey resulting in a cocktail that became “suave” or “the best”, thus the slang for the Bee’s Knees name among the jazz clubs. With his bartending training underway, he returned to Paris to become the Hotel Ritz’ first head bartender in 1921 when it’s Cafe Parisian opened its doors.</div>
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Meier’s talent for creating delicious cocktails combined with his sense of hospitality to the glitzy and the Lost Generation of intellectuals made him famous. It was the Golden Age at the Ritz and some of Meier’s clientele included the King of Spain, the Prince of Wales, the Russian Grand Dukes and one of his best friends, American author Ernest Hemingway. </div>
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Meier was Austrian born and part Jewish, yet he continued to run his bar even when the Germans occupied Paris. It was a risk he was willing to take. He survived the war, avoided deportation and actively engaged in the resistance by assisting many Jewish residents to obtain fake documents and passports that allowed them to hide from the Gestapo’s concentration-camp round-ups. </div>
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<tr><td class="tr-caption" style="text-align: center;">Frank Meier cocktail mixologist at the Hotel Ritz, Paris</td></tr>
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Because Meier helped the French resistance and British spies, he was constantly under Gestapo surveillance. He also passed notes for Hans Speidel and Carl Stülpnagel to assist them in planning the assassination attempt of Adolph Hitler which failled. He was essentially running a mailbox with other Ritz staff members passing coded troop movements to the French Resistance via Switzerland. </div>
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There’s no telling how many people benefited in avoiding death at the hands of the Nazis from the help of Frank Meier, but what is known is that a couple of years after the war in 1947, the mysterious anti-Nazi spy disappeared into the night but not before leaving his treasured recipes in a small book, <b>The Artistry of Mixing Drinks</b>. Its publication was circulating since 1939 but included only 1300 copies and they’re sought after at auction to the highest bidder. </div>
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One of the popular recipes in the book is the Knee’s Bees cocktail. In Meier’s recipe it doesn’t include lavender, but for this version, in honor of France and its lavender fields the cocktail includes an infusion of lavender syrup which you'll surely enjoy. </div>
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Here’s a toast to the many lives saved by Frank Meier and to Meier himself, raise your glass with a Bee’s Knees.</div>
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<b>Bee’s Knees with Lavender</b></div>
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Granulated sugar *</div>
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2 ounces (60 mL) Gin</div>
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3/4 ounce Lavender syrup</div>
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1/2 ounce fresh lemon juice</div>
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Fresh lavender (for garnish)</div>
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Rim a chilled coupe with sugar and set aside. Combine the gin, lavender syrup, and lemon juice in a cocktail shaker filled with ice. Shake well. Strain into the sugar-rimmed coupe and serve garnished with fresh lavender. Makes one cocktail. </div>
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*Dried lavender can be added to the granulated sugar for garnish. </div>
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<b>Lavender Syrup</b></div>
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1 Cup of water</div>
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1 Tablespoon of dried lavender flowers</div>
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1/2 Cup of granulated sugar</div>
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1/2 Cup of honey</div>
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In a saucepan, bring the water and lavender flowers to a boil. Add the sugar and honey and bring to a second boil, stirring to dissolve the sugar. Lower the heat to medium and simmer for 5 minutes. Remove from the heat and allow to cool. Strain, discarding the lavender flowers, and store in the refrigerator for up to two weeks. </div>
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Written by Leticia Alaniz © 2017</div>
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Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com3tag:blogger.com,1999:blog-1235172441912175933.post-20207257049887275292017-03-08T07:13:00.000-06:002017-03-08T08:14:55.471-06:00Jonathan Ramirez - Portraits, Magic & Surrealism<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Jonathan Ramirez<br />
Photo by Leticia Alaniz © 2017</td></tr>
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You paint portraits, you make sculptures, you create drawings, and you compose original rock n' roll full of imagery and messages, yet you don't consider yourself an artist?</div>
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<b><span style="font-size: large;">"I don't consider myself an artist but yeah I always wanted to create something artistic all my life, from paintings or sculptures… I guess I'm not an artist but a person that's inspired to create things." </span></b></div>
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Jonathan Ramirez may be humble in accepting the reality that he's on his way to superstardom in the art scene; yet he's already garnered countless art recognitions and has been invited to showcase his art in solo exhibitions in Europe, USA, and Latin America. His pieces have been acquired by top galleries and collectors. As a whole, his body of work is recognized for its complexity and depth and for encompassing cultural and political commentary in highly detailed portraits in a renaissance style mixed with modern art that includes surreal depictions in mixed media. To describe Jonathan's art would be difficult to place it in one single style. His portraits alone are prophetically sensitive, and they're suffused with a theatrical air. They're images that reveal an enormous power of feeling and observation. His underlying theme is the sentimentality and expressiveness of the deep gaze of the eyes in each of his portraits. It's a gaze that may sense tragedy or the brevity of the moment in which we live in. Elusive brushstrokes follow the gaze and in some portraits, drips of color roll down towards the bottom of the canvas, almost as if the beginning of life rolls down towards the end of life reminding us that life is a perfect delicate balance which must come to an end. </div>
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I remember the event where I first met Jonathan at a Battle of the Bands concert where he was playing with his band called Moon Fluid. The music of Moon Fluid was a progressive style of rock n' roll with a blending of blues, post-punk, ska, jazz, gothic rock and even latin influences. He was playing chords on his guitar and naturally, his music stood out and it was loud. I was there to photograph the concert and I wanted to know what Moon Fluid was all about. Soon after, I was photographing covers for his singles and band portraits. </div>
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Jonathan was born in Monterrey, Mexico and the famous neighborhood, <b>Barrio Antiguo</b>, famously known for its art scene, poets, writers, and intellectuals may have been the right place to shape his artistic persona.</div>
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In his words: </div>
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"My childhood was very strange… I was a quiet kid, always drawing USSR war propaganda posters… I was very interested in war propaganda since I was a kid. I used to copy and create my art-war drawings in mixed media with popular Disney characters interwoven. I think that's why my current paintings resemble my childhood art. I grew up in a poor neighborhood in a middle-class family. I'm very proud of my heritage, of my background, and where I came from. "</div>
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<b>LA - Does your heritage have a place in your art?</b></div>
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<b>Ramirez</b> - Yes, in fact, I started my first collection inspired by my Mayan culture with a touch of a modern perspective. I love to combine some of my roots and cultures in most of my paintings. Even if I'm finished doing the Mayan collection, I try to apply my Hispanic heritage to my artwork. </div>
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<tr><td class="tr-caption" style="text-align: center;">Portrait of Rasputin by Jonathan Ramirez<br />
Photo Leticia Alaniz © 2017</td></tr>
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<b>LA - What kind of subjects do you mostly paint?</b></div>
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<b>Ramirez</b> - I love to paint portraits but I also like to do detailed work and there are a few times that I paint surreal subjects in different mediums. I'm known for painting using the natural stain from wine, coffee, spices and of course traditional oils, acrylics, and charcoal. Fire makes it on my canvases quite often and it's quite a spectacle when I paint. It's like a rock concert. My art, in general, is emotional and colorful. It's magical and dark with a flair of gothic.</div>
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<b>LA - Your art seems to speak its own language that transcends time. It has a sense of universality. Are you a storyteller through your art?</b></div>
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<b>Ramirez</b> - I think each of my pieces has a story to tell so I'm definitely a visual storyteller. I let my art speak for me. I'm a very shy person so everything you see in my work is related to something I might say or a personal story. </div>
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<b>LA - Do you think your art reflects your ideas and opinions on the world we live in?</b></div>
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<b>Ramirez</b> - Yes, my art reflects the modern world we live in because the world I live in inspires me to create so it's a balance.</div>
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<b>LA - How do you view social issues of the world today? Do negative social issues portrayed in the media bother you?</b></div>
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<b>Ramirez</b> - I don't get angry, the world is already angry with each other, so instead I get inspired to create what I do. For everything I see in social media, I create something that will have an impact. I mean, you have to be a creator to not fall into those games. I keep myself distracted from all of that. If I see a subject I like and If think I can project that into art I make that happen. I believe art can make a difference. In the world we live in, I can't step away or blind myself to current social issues so I just find a way to express myself thru art and let the world see my point of view thru my art. </div>
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<tr><td class="tr-caption" style="text-align: center;">Jonathan Ramirez<br />
Photo Leticia Alaniz © 2017</td></tr>
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<b>LA - Are you spiritual or what do you believe in?</b></div>
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<b>Ramirez</b> - I would say the older I become the more I become non-religious. But I would say I'm spiritual and I'm really trying to look for the answers of existence, you know… is there life after death? Or what's next? Things like that… I'm not sure if you call that spiritual but yeah I really love peace. And on the subject of philosophy, I love Plato. </div>
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<b>LA - I think Plato was the philosopher that argued the issue of "being alive" and "being dead", two opposite states, and "dying" and "coming-to-life" must balance out dying… so it's interesting to wonder about what comes next.</b></div>
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<b>LA - Do you question anything in life, for example, what our purpose is and the existentialism of life itself? </b></div>
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<b>Ramirez</b> - Yes, I do all the time. Before I go to sleep and close my eyes I think deep. There are so many questions and not enough answers. It's very difficult for me to go to bed thinking what there might be after this life and how I can apply that to my next painting. Waking up and having those six hours face to face with a canvas and trying to apply my feelings and emotions raises a lot of questions. Existentialism definitely has a place in my paintings. </div>
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<b>LA - How do you prepare yourself mentally when you begin a new canvas? What's your studio setup like?</b></div>
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<b>Ramirez</b> - My studio is a mess, but that's how it should be. It's the only place I feel secure and happy. I try not to think before I start painting, then I play music depending on the mood. Then, of course, I drink wine or something to get a little high on emotions if you know what I mean! </div>
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<b>LA - What bands do you listen to? </b></div>
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<b>Ramirez</b> - I love Pink Floyd, The Doors, The Smashing Pumpkins… in fact, I'm working on a collection inspired by one of their albums: Mellon Collie and the Infinite Sadness. You can also find Tool and A Perfect Circle on my playlist. They really inspire me in my creative process.</div>
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<b>LA - Music is a very big driving force that keeps us going. What else has had an influence on your work?</b></div>
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<b>Ramirez</b> - In the past four years, my art is influenced by my personal experiences. My love life especially, my heart has been getting hurt a lot. So in a way, my loneliness drives me to keep painting or the fact that I don't feel like going out much and meet people. It's a strange thing to say, I'm not very social so I project myself into my paintings. My love life has been very disappointing. Past relationships, lost love, death and of course, music is what keep me going. </div>
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<tr><td class="tr-caption" style="text-align: center;">2016 Collection by Jonathan Ramirez</td></tr>
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<b>LA - Are you happy with your life?</b></div>
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<b>Ramirez</b> - Death is a surprise party that may come at any moment. I'm very happy now but who knows tomorrow? I live every minute of my life as if it was the last one. I enjoy the moment and never look back or look into the future. For now, I feel proud of my art, my work, everything I do and create. </div>
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<b>LA - Life is full of pain and death. It's an indisputable truth and in between, we can find happiness among ourselves. Your paintings certainly speak of life and death and their vibrant colors seem to seek authenticity and they convey the message that we can get more out of life. </b></div>
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<b>LA - What are your artistic dreams for the future?</b></div>
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<b>Ramirez</b> - As far as workflow, I would like to keep creating every day, even if it's a small sketch which I may never share with people. I see myself today and my future alone, creating art, making crazy and dark paintings and sculptures. I would love to display my new collection and share it with the world for sure. I would like to experiment with new mediums and I would like to explore my brain and be more active with art. And as for my music, it's a little bit harder to accomplish because I have to depend on others so that I can play a gig. I love my band Moon Fluid but I need the other musicians and many times they're not available. So painting is more of a solo activity and it has actually possessed me more strongly, so I'll just keep creating solo. </div>
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<b>LA - What has been a highlight of your career?</b></div>
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<b>Ramirez</b> - I guess I consider it a major highlight when I exhibit my work. It gives me great satisfaction when people see my work in person and see the time and work that I have put into the art. It makes me feel that I have something good going for me. Exhibits keep me going because it's the drive that I need to inspire me. I'm not always dependent on a public, but it does give me a great boost. </div>
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<b>LA - Where was your first exhibit and when?</b></div>
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<b>Ramirez</b> - It was in London I believe in 2011 at Debut Contemporary. After that show, it seems Dallas started paying more attention to my art so I started to do more exhibits in my base city of Dallas, but I still keep traveling to Europe to display my art.</div>
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<b>LA - Is there a city in the world that you think is more suited for you? </b></div>
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<b>Ramirez</b> - I think a lot of artists might choose New York or Los Angeles but I feel better suited for London. I think the art scene is growing so much in London and I think it's also so beautiful and inspiring for me. I react to the city and it's like a strong energy from which I draw inspiration. </div>
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<b>LA - What has criticism on your art been like, whether positive or negative?</b></div>
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<b>Ramirez</b> - Because its art there will always be a lot of different opinions and I have received both negative and positive critiques. What I do is just listen and I try to see their point of view. Does it affect me? Not at all, I respect peoples' opinion all the time and I love to get feedback. </div>
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<b>LA - How do you view the artistic scene in Dallas?</b></div>
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<b>Ramirez</b> - I usually check the art scene, I go to exhibits. I mean it seems to me everyone is famous nowadays, you see a new model, photographer or a painter coming on social media every day. So I think art has a place on social media and it's a great platform to get the word out. All the cool people come out on social media, so I'm just gonna ride the same train. </div>
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<b>LA - Do you have your family's support and approval?</b></div>
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<b>Ramirez</b> - My family is very supportive. I'm lucky that I came from a family that always embraced the arts. For example, my father was a musician and my mother sang in a choir. So music and the arts have always been a part of our lives. It just came naturally to me. At first, they were a little bit shocked or scared when they saw my paintings, especially the darker ones with dark themes, but now they understand me and support me all the way. They do wonder why I paint so many portraits, but they're cool, portraits are my passion so they love them now.</div>
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<b>LA - Your portraits assertively embrace the renaissance art movement, especially the way light glances along the flesh of the faces which is hard to accomplish. And speaking of the renaissance, is there an artist of that period or other periods that you would have liked to meet if you could?</b></div>
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<b>Ramirez</b> - I would have really like to meet Leonardo, Michelangelo or Dali. All the people that I have dreamt of meeting left a legacy behind either in art or music. Their legacy makes me happy and that's why we're here, to experience that. I like to live in the moment but I wish I could meet a couple of those guys. I have learned a lot from studying their works. I only aspire for my work to make a mark somewhere, to leave its legacy and to perhaps make an impression on a person for the better. It really makes me happy when people enjoy my art which I create with my heart.</div>
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<b><span style="font-size: large;">"Great art takes all that we've got to put into it. And when we're gone, all that remains is art." - Jonathan Ramirez</span></b></div>
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<tr><td class="tr-caption" style="text-align: center;">Mayan Prophesy by Jonathan Ramirez © 2016</td></tr>
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Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com4tag:blogger.com,1999:blog-1235172441912175933.post-69638565469756378722017-01-13T14:39:00.000-06:002017-01-14T15:02:28.930-06:00Iñaki Oñate: A Modern Auteur Filmmaker<div dir="ltr" style="text-align: left;" trbidi="on">
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Iñaki Oñate is an auteur filmmaker and visual artist. I first heard his name thru his father Iván Oñate whom is a well known, respected poet and narrator in Latin America. In a chance meeting at a book festival in Houston, Texas, the poet, Iñaki’s father, proudly talked to me about his son and gave me a DVD of one of his films. The film is titled <b>El Fin De La Película</b> (The End Of The Film). At the time, I was working on other projects so I left the film on my desk for at least a month before I sat down to watch it.</div>
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Good things that come my way deserve attention and what I found in Oñate’s film is precisely the kind of art that intrigues and fascinates. It was a film that I would consider <i>auteur</i> cinema. The kind that brought to mind the films that were being made in Paris in the late 1950s and 1960s termed <i>New Wave Cinema</i> by François Truffaut. There was a sense of subjective and objective realism, and the narrative carried itself in a <i>verité</i> manner. Subjects were photographed in artful black and white in natural settings, with natural dialogue.</div>
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Films are only one part of Oñate’s repertoire, he’s also a well established visual artist, illustrator, musician and sound designer. His art is provocative and in a way his pieces convey messages of ecstatic truth. They move the audience to think about the reality or absurdity of the world and social issues in which we live in. </div>
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<tr><td class="tr-caption" style="text-align: center;">El Fin De La Película (The End Of The Film)<br />
by Film Director Iñaki Oñate</td></tr>
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Iñaki Oñate was born in Quito, Ecuador on November 7th, 1988. He grew up in a home that in his words was, <b><i>“Synonymous with freedom, but a freedom that carries a high degree of responsibility.” </i></b><i> </i>His art education and discipline may have began at home, but his final formative years in cinematic studies were spent at the Universidad Del Cine (FUC), in Buenos Aires, Argentina and aptly among the <i>avant garde</i> society which surrounded him. </div>
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<b>LA - What was it like growing up in Ecuador with a famous author as your father, it must have been fascinating. Did you have a happy childhood?</b></div>
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<b>Oñate</b> - My home has always been my refuge, my source of wisdom. It’s here where I cultivated my aesthetic and ethical identity. I think a good childhood is not only a happy childhood, but a childhood that teaches you to be strong. My upbringing basically consisted of the process of brutally colliding with reality and resisting with the help of the force cultivated in my home. </div>
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<b>LA - Did you have the support you needed to become an artist?</b></div>
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<b>Oñate</b> - I have been very blessed to have family, people, friends, and colleagues who have demonstrated their appreciation, their respect for the things I do and at the same time they have helped me grow with constructive criticism and utmost sincerity with their opinions on my work.</div>
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<b>LA</b> - <b>In growing as artists it’s extremely valuable to be surrounded by people who are willing to express sincere opinions.</b></div>
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<b>LA - Since when did you have an inclination towards art?</b></div>
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<b>Oñate</b> - I think I must have been drawing tirelessly since the age of two. As a child, I would put sounds and dialogue to the images that I drew on paper. I was unconsciously drawing frames of imaginary movies. I do remember one of my very early pieces. It consisted of a series of pen drawings based on impressions I had on the film Samson And Delilah by Cecil B. De Mille. I must have been around five years old, but at a very young age, cinema caused in me a hypnotic effect. In those days, it was very common to see biblical films on TV like the one mentioned or The Ten Commandments. They were part of the regular programming. There was something in the sacrifice of the main characters, their renunciation of themselves in pursuit of something beyond superior that clicked with my metaphysical being. Of course, as a child I did not rationalize this, I just let the film carry me away by intuition and the emotions that those movies and stories generated. </div>
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<b>LA - What do you remember most from your childhood and youth years that play an important role in your art today?</b></div>
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<b>Oñate</b> - Art was always my sanctuary. It was the place where I was free. There was no better ecstasy than returning home after school and throwing myself to the ground surrounded by drawing paper and then proceed to draw for hours. Eventually, the same would happen with the piano, the guitar and finally cinema. The cynicism of the world around me was always a source of frustration and at the same time inspiration. But there was also an element of the strange and ghostly that was ingrained as a result of having had an encounter with an angel when I was a child. I saw it in my house and I felt its energy was good. It had feathers but it was grotesque and deformed. Nevertheless I sensed that it was an angel or something close to an angel. </div>
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<b>LA - That type of imagery stays with us for a long time. It reminds me of the movie Birdman with its satirical black comedy and drama. </b></div>
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<b>LA - In what way did your parents influence you?</b></div>
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<b>Oñate</b> - My parents gave me their love and ethics. They taught me valuable lessons and that one must be consistent with oneself. One must be loyal to one’s principles, and above all one’s art. I learned that I had to be loyal to one’s aesthetic discourse that goes beyond the work. My art must be incarnated in life itself. There is no middle ground in the true artist. You must give everything to create your work and create something that truly speaks to another human being.</div>
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<b>LA - What is your concept of art and what style do you mainly prefer?</b></div>
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<b>Oñate</b> - Art is an excuse to express emotions or ideals. Its the only truth that exposes our essence: that of animals stricken by fear and desire looking fiercely for someone who will love us or at least give us a warm illusion. As for styles and mediums, I must say that drawing, music and film are all of equal importance to me. I think cinema encapsulates all the disciplines I explore. Its the hybrid par excellence. </div>
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<b>LA - What art movement or artist in history has had an influence in your work?</b></div>
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<b>Oñate</b> - If I must choose an art movement or artists that have strongly influenced me, I must say that the 16th century School of Art in Quito has had a great impression on me. Also, the renaissance philosopher Francis Bacon, film directors Ingmar Bergman and David Lynch, and the music of Pink Floyd. </div>
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<b>LA - Do you draw inspiration from politics and current social events?</b></div>
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<b>Oñate</b> - I'm inspired by everything. I do draw inspiration from certain events recounted by the mass media but also and above all I look for stories and events that happen near me, in the faces and the backs of everyday life. That’s where I believe the real human epics are. </div>
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<b>LA - I couldn’t agree with you more. And I also believe every artist paints their own reality and in their own language and they portray life according to their imagination. What are some themes you paint?</b></div>
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<b>Oñate</b> - I think I’m essentially an existentialist, since I was a boy until today. The theme that defines me most is the <i>being</i> and its dialogue with nothingness. </div>
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<b>LA - Are you spiritual? What do you believe in?</b> </div>
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<b>Oñate</b> - I’m a spiritual person by nature. No one ever made me believe in anything. Yet I feel God in the rain, in the wind, in the leaves, in the bliss of love, and in the truth of art. </div>
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<a href="https://4.bp.blogspot.com/-SO66VRqeVVE/WHk2zH_GvxI/AAAAAAAABSM/txV9AyHdWf8Huqfr0_VEzmfgJoAjCmw_wCLcB/s1600/Unknown.png" imageanchor="1" style="clear: right; float: right; font-size: 12px; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-SO66VRqeVVE/WHk2zH_GvxI/AAAAAAAABSM/txV9AyHdWf8Huqfr0_VEzmfgJoAjCmw_wCLcB/s320/Unknown.png" width="320" /></a><b>LA - What period in history do you think you would have liked to live in?</b></div>
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<b>Oñate</b> - I think I share the morality of Woody Allen’s movie: Midnight in Paris. While we may find fascinating previous periods of time, there is nothing better than finding beauty in the here and now. I think it’s the duty of every artist to find the identity of his time. </div>
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<b>LA - We all have an important role in society. Do you think your work has an influence of those around you?</b></div>
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<b>Oñate</b> - I want to believe that <i>yes</i>, and sometimes people that I don't know at all have expressed their admiration and appreciation for the messages or the things I say thru my art. Art must be a threat, a threat to reality, for what is established as absolute. Art must teach us that there is no such thing, that everything can be modified. </div>
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<b>LA - Have you had any challenges in exhibiting your art and what has the criticism been like whether positive or negative?</b></div>
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<b>Oñate</b> - From a very young age I had a deep respect for my things. For me, to make art meant that art itself had to deal with healing my own problems. With my paintings I try to overcome the demons of my past or my present and I also try to pay homage to the angels who have passed thru me. Some already in another dimension, while others are deformed from the brutality of life. When I was 15 I made my first short film. It was a school project and it was only me with my Handy camera and the collaboration of two friends. Seeing the good reception I had at my school, I dared to submit the film to an international film festival in Montreal, Canada. It was my very first exhibit. The festival was called Festival Du Films Du Monde and my short film was titled <b>Faces of Time</b>. They showed my film just before a feature film by the son of Juan Rulfo. After the exhibition many people expressed their pleasure towards my short and a TV channel asked me for an interview. It was a small baptism of fire and blood. My film was selected and since then I started to produce more films and have been lucky at international festivals. From then I began to show my work at universities in the film circuits where I felt to some extent that my films were conveying an important message to completely unknowns. That gave me the incentive at a young age that I could seriously take the idea of filmmaking as a profession and dedicate my life to the art. I was determined to set a universal message for others through my cinema, my music and my drawings. </div>
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<b>LA - What role does Argentine culture play in your art? Are there political or social messages intertwined in your art?</b></div>
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<b>Oñate</b> - Argentina has been fundamental not only for my art but for my life. It has been the place that has seen me grow form a teenager and become an adult. Argentina has given me the friendships, the muses, and the vital learning curve that every artist needs for his art to be true, to have emotions, to have drive. It’s where I learned to make art that was more human. </div>
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<b>LA - Life itself makes us evolve and the place we live in shapes us… What has your evolution as an artist been like?</b></div>
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<b>Oñate</b> - I have always felt and perceived my art as my own language, a personal and intimate way of shouting in an aesthetic and harmonious way everything that happens in my heart and mind. My evolution as an artist has been based on perfecting techniques and finding new resources, inquiring other artists and learning, but also in not letting the voice of the inner child to be lost and maintaining the violence and the game I’ve had since I was very young. </div>
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<b>LA - What is your studio like?</b></div>
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<b>Oñate</b> - I don’t have a studio. I work in the small <i>mono</i> environment where I live in Buenos Aires, I have the necessary basics, but I tried to decorate the place a little with posters of movies or movie stars as well as with clay sculptures that I make for my animations. More than a studio, I would say it looks like a lunatic’s lab. I don’t have preferential schedules to work. I simply act based on the strength of an idea or a sketch of the moment. Sometimes, something can take me minutes and other times it can take days. I drink apple cider when I work, I think it’s good fuel for my ideas.</div>
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<b>LA - Do you cook? Is cooking part of your repertoire?</b></div>
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<b>Oñate</b> - I love to cook for myself and for my friends. I like to make macaroni and cheese with tuna.</div>
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<b>LA - Cooking is one of my major life forces too. How do you feed your mind? What books do you read, who are your favorite authors, and what films do you watch?</b></div>
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<b>Oñate</b> - I like to read novels and poetry: Boris Vian, Hermann Hesse, Franz Kafka, Charles Bukowski, and Joe Sacco comics. The work of my own father Iván Oñate has been fundamental for the construction of my aesthetics. In the film arena I like Blue Velvet, Pink Floyd The Wall, Amadeus, The Godfather Trilogy, El Silencio, and La Hora Del Lobo just to name a few. Everything I’ve seen has been influential on my work directly or indirectly, but the films mentioned have been crucial and are films I have seen at least two or three times. </div>
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<b>LA - How do you recharge energy?</b></div>
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<b>Oñate</b> - Usually what awakens my libido to create something is either a song that I like, a good movie or even the smile of an inspirational muse.</div>
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<b>LA - Music sounds like a great way to relax and create. What music do you listen to?</b></div>
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<b>Oñate</b> - It may vary, I’m essentially a rocker: Pink Floyd and Stone Temple Pilots. But on the other hand the classical music of Schoenberg (The Night Transfigured Concretely) to the music of Chopin have been my companions when I create. These days I listen to a lot of sound tracks from movies. </div>
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<b>LA - What are your dreams and plans for the future?</b></div>
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<b>Oñate</b> - I want my parents, my bothers, my nephews, and my friends to be proud of me. I want to fall completely in love again. I want my work to be seen all over the world and for my work to express sincerity to any inhabitant of this universal human village. I think over the years I can discern what may have been wrong in my life or what errors I have made. What I can say is that thanks to positive things that happened, they have impacted me enough to build the strength to process the negative and transform it into life lessons and new material for my work.</div>
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<b>LA - What do you feel most proud of?</b></div>
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<b>Oñate</b> - My family. Of my family values. Of the honesty and the struggle of my parents for a better world. </div>
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<b>LA - Are you a romantic?</b></div>
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<b>Oñate</b> - I think every artist should be a romantic. We’re driven by ideals and feelings and we must have the courage to be like this in a cynical and cruel world. </div>
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<b>LA</b> <b>- What moves you more whether to inspire or to provoke negatively?</b></div>
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<b>Oñate</b> - Negatively, I’m bothered by the hypocrisy and corruption of politics and by people who blindly follow false leaders with such fanaticism that causes brothers and sisters to be murdered among them. It causes me despair to see that people don’t realize how they can have the power but instead they allow the manipulation and deceit of just a small circle of bastards. We have the last word and our own ideas, not those that govern us based on lies and cheap fables.</div>
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<b>LA - I agree bad governments are the ills of our societies. </b></div>
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<b>LA - What philosopher or philosophy inspires you?</b></div>
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<b>Oñate</b> - As a teenager I used to follow Nietzsche and Camus. Now I like the desperate and poetic rhetoric of Émil Cioran.</div>
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<b>LA - Those are amazing philosophies to read. I’ll keep in mind to read essays by Émil Cioran. I know they’re deep and raise important questions of humanity and pessimism. Have you applied any of your favorite thoughts on philosophy to your works? Which art pieces or films do you feel most proud of?</b></div>
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<b>Oñate</b> - I feel a special affection for a trilogy of short films that I produced when I was a teenager that consist of: <b>The Machine</b>, <b>Lord God of the Insect</b> and <b>God is in the Mirror</b>. They narrate the passage of the child to the adolescent and the adolescent to the adult who must fight for his soul and for his ideas. </div>
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<b>LA - Your’e a master at what you do but also a master thinker. This has been a very good moment and in cinema we would call this a sequence. I’m very glad and honored that you shared a sequence of your life here. Thank you for your generous time and for your honesty. </b></div>
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Iñaki Oñate produces his films thru <a href="http://undergofilms.com/" target="_blank">Undergofilms Productions</a>. His artwork and photography are displayed in select galleries and published in Europe, USA and Latin America. </div>
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Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com3tag:blogger.com,1999:blog-1235172441912175933.post-75894703314187933722017-01-09T19:21:00.000-06:002017-01-10T11:51:33.108-06:00Dawn in Dolores de Hidalgo<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Madrugada en Dolores de Hidalgo<br />
© 2001 Leticia Alaniz Cano<br />
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Dolores de Hidalgo, or simply known as Dolores is an important city in Mexico with an important history. Its in the north-central part of Guanajuato. It is here where the cry for independence or the <i>Grito de Dolores</i>- the thundering for insurecction was heard for the first time in the early hours of September in 1810. It was at the parish church Nuestra Señora de Dolores where Father Miguel Hidalgo y Costilla uttered his famous words and demanded the voice to be heard all the way to Spain. Independence was imminent and Spain officially recognized Mexico’s independence after the Treaty of Córdoba was signed in 1821. In honor of the priest Miguel Hidalgo y Costilla, the citizens renamed the city to Dolores de Hidalgo.</div>
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I read about the famous battle and the history of Mexico’s independence as a child since elementary school and growing up I heard stories about the beautiful art, ceramics and culture. The art itself is what attracted me to visit the historical city several years ago. To say that it’s fascinating and mystic falls short because there’s an aura of wonder everywhere and in everything. </div>
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The city was an Otomí settlement long before the arrival of the Spaniards and their essence can be found in the ambience, the mood, and especially the food. There’s a distinct aroma in the air of wood burning, chiles roasting, fresh fruit, flowers from the countryside, and tamales steaming that’s ridiculously and intoxicatingly beautiful. This is the real Mexico, it’s in the heart of the country and it’s where travelers can experience the colors, the vibrancy and ancient history with a <i>jarrito de atole</i> or a clay pot of <i>atole </i>in the dawn hours of the morning (atole is a traditional pre-hispanic Mexican porridge). </div>
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<a href="http://1.bp.blogspot.com/-C-caGdoB_rI/WHQ1Q8lTi1I/AAAAAAAABQM/SWETVHT44kk866uBy5U6xSaAGSBbQJHIgCK4B/s1600/atol3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="https://1.bp.blogspot.com/-C-caGdoB_rI/WHQ1Q8lTi1I/AAAAAAAABQM/SWETVHT44kk866uBy5U6xSaAGSBbQJHIgCK4B/s320/atol3.jpg" width="320" /></a>From their carts, vendors sell hot <i>atoles</i> along with <i>tamales </i>in the <i>madrugada</i> just before daybreak. Atoles and tamales are the traditional Mexican breakfast and vendors sing their marvelous offerings in poetic rhyming sounds that give life to the city: <i>“Pasen a comer tamales, todos los que van pasando, tamalitos calientitos, aqui vamos preparando, pasen a tomar atole su atolito y champurrado, panza y corazón contento hacen fuerte al ciudadano.” </i></div>
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A loose translation would be something like this: <i>“Come on by and eat tamales, everyone that passes by, come eat hot tamales that we’re making here, come on by and drink your atole, your warm atole champurrado, be it known that a happy heart and a happy belly, makes a person strong.”</i> </div>
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At the earliest hours one morning, while the dew was cool and a blanket of light fog enveloped the city, I went out for a taste of atole and tamales. The church bell rings every hour and it can be heard from a long distance so I followed the sound to the main plaza. The chatter was vibrant and the tune of the vendors is a calling for a good meal. Before the morning sun rays even made their appearance, I managed to sketch an elderly couple walking down the steps of the main church at the plaza which later I finished in oils in my studio. I recorded a vivid picture of the colors they were wearing and the way the light spread its color cast. It was around 5:00am and I knew that was the moment in time for my chance to live such a beautiful morning in the heart of Mexico. </div>
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Written by Leticia Alaniz ©2016 </div>
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Madrugada en Dolores de Hidalgo</div>
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Oil on Canvas ©2001 Leticia Alaniz</div>
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Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com4tag:blogger.com,1999:blog-1235172441912175933.post-68054654028168995342016-11-16T14:48:00.000-06:002016-11-16T14:49:39.364-06:00Gin, Grapefruit & Pomegranate Cocktail<div dir="ltr" style="text-align: left;" trbidi="on">
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Photo Leticia Alaniz © 2016</td></tr>
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A grapefruit cocktail doesn’t need many ingredients to showcase the citrus flavor and intoxicating aroma. But a perfect marriage is Ruby red grapefruit juice and seasonal pomegranate seeds with a generous splash of gin. It’s a nice and tart cocktail, but the addition of simple syrup gives it just the right amount of balance. And to take the cocktail to another level, rim the glass with sugar and crushed red chile flakes. It’s the tickling boost of flavor to a citrus fruit that is traditionally eaten with chile in México. You can also use <i>Tajín</i> powder for the rimming of the glasses. <i>Tajín</i> is a tangy Mexican seasoning that consists of chile peppers, salt, dehydrated lime juice, and crushed dried mango. </div>
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Grapefruits can be available year round, depending on your location, but in the southern US and Mexico, the peak season for the best Ruby red grapefruit starts in November and December. Ruby red grapefruit has a bright pink/red color and a balanced sweet-tart flavor.</div>
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Oh and the pomegranates! Crushed and mixed with the grapefruit juice makes for a delicious and mighty punch of perfume in your mouth. Both fruits are unique and powerful antioxidants and the pomegranate season mirrors that of grapefruit, typically between October thru February. </div>
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What makes the cocktail great? The humble gin, especially one that is supremely English with its aromatic botanicals and juniper berries. Gin had a history of being the poor people’s choice of drink because of the manner of back alley spirit distilling and the way it was drunk in barns, country celebrations, and peasant gatherings. But I say let's just enjoy! </div>
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Celebrations call for flavorful cocktails and the perfect expression for a party is a gathering of joy among friends and family, and terrific good cheer. </div>
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<b>Gin, Grapefruit & Pomegranate Cocktail</b></div>
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<b>Ingredients:</b></div>
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<li style="color: #323333; font-family: Arial; margin: 0px;">1 1/2 ounces of pomegranate juice (preferably from freshly crushed seeds)</li>
<li style="color: #323333; font-family: Arial; margin: 0px;">1 1/2 ounces fresh grapefruit juice</li>
<li style="color: #323333; font-family: Arial; margin: 0px;">1 1/2 ounces gin (Beefeater London Dry Gin)</li>
<li style="color: #323333; font-family: Arial; margin: 0px;">1-ounce simple syrup or honey</li>
<li style="color: #323333; font-family: Arial; margin: 0px;">A few dashes orange bitters (optional)</li>
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<b>Directions:</b></div>
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<li style="color: #323333; font-family: Arial; margin: 0px;">Muddle the pomegranate seeds to obtain the juice. In a cocktail shaker, add the pomegranate juice, grapefruit juice, gin, simple syrup or honey, bitters, and ice.</li>
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To make simple syrup combine an equal amount of sugar and water. Heat to dissolve. Let cool completely before mixing with the cocktail. </div>
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Written by Leticia Alaniz © 2016</div>
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Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com25tag:blogger.com,1999:blog-1235172441912175933.post-34863549703356227192016-11-10T11:07:00.002-06:002016-11-14T13:13:03.111-06:00The Siege of Numantia - A City Turns To Dust<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">The Siege of Numantia Directed by Cora Cardona. Cast: Ignacio Lujan, <br />
Sixto Orellana, Omar Padilla, Carlos Ayala, Sorany Gutiérrez, Leticia Alaniz, Marbella Barreto,<br />
Enrique Arellano, Martin Mejía, Ninoshka Martinez, Nichole Sanchez </td></tr>
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A city has turned to dust out of the ashes of its people who called themselves Numantinos. The blood of life ran like a river of death thru every corner and at every turn of the streets of the Iberian Peninsula; where the Celtiberian people had made their oppidum or fortified large settlement in the final centuries BC. The citizens of Numancia had taken their own lives in order to prevent a brutal death at the hands of the Romans who had begun conquering Europe. Terror wreaked loud and they feared for their beloved city. Archeologically, Numancia’s bloodshed occurred in what is now north-central Spain. </div>
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<tr><td class="tr-caption" style="text-align: center;">Leticia Alaniz in The Siege of Numantia<br />
Directed by Cora Cardona<br />
Teatro Dallas</td></tr>
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Houses no longer had the sound of children’s laughter, nor the sweet smell of bread baking. The people obeyed the orders of their leader Teógenes, whom would not allow their terrible fate to plunder their dignity. They were to resist the Romans by their own hands with the blessings of their god Jupiter. Thousands of logs were piled high, and they built a large fire in the middle of the city in its central plaza. One by one, the Numantinos plunged themselves to their final breath before the forced entry of the Romans who were led by Scipión the consul, and his consort Jugurtha. The Numantinos had deliberately crushed Scipión’s chances of a final victory for the Romans and his regal power was shadowed by shame. </div>
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<tr><td class="tr-caption" style="text-align: center;">Enrique Arellano, Ignacio Lujan<br />
Sixto Orellana in The Siege of Numantia<br />
Photo Leticia Alaniz © 2016</td></tr>
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The mission of the Romans was to capture Numancia, the ancient rich city of Hispaniola for the Roman empire. But for sixteen years, the strong Numantinos resisted the war and their rebellion was powerful; they were few but fierce. </div>
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Scipión had a strong iron army that outnumbered the citizens of Numancia who were warriors and firm survivors. With that in mind, Scipión knew that if he was to capture Numancia he had to build an outer wall around the city and isolate its citizens from any relief or provisions. Therefore, the only way to capture the city was by starvation. A nearby swamp was dammed and created a lake between the city walls and the outer wall that was built by Scipión’s army. Seven towers were built interspersed to keep a watchful eye and prevent any escape from the desperate and starving people. Sharp arrows were shot at anyone without mercy. <br />
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<tr><td class="tr-caption" style="text-align: center;">Omar Padilla & Sorany Gutiérrez in<br />
The Siege of Numantia<br />
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The gentle river Duero which surrounded the city was their only source of drinking water. Greedily, Scipión captured it’s life giving flow and strung a large cable across with blades to prevent both boats and swimmers from leaving or entering the city. The blockade of the river and the isolation caused death by starvation, but for the Numantinos it was preferable to starve rather than be captured by the Romans whom would brutally kill their men and enslave their women and children.</div>
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Teógenes, wishing for a peaceful outcome for his people, sent ambassadors to speak to Scipión and asked for their liberty and peace in return for a complete surrender. But the bloodthirsty Scipión refused and offered Teógenes the flag of death. Still, the city refused to surrender. Starvation and dead bodies were the landscape, and cannibalism ensued. The suicide of the remaining citizens in the fire was the dignified living death that never perished their memory. Bravery was the face of the Numantinos and they overcame the ostentatious hand of the enemy.</div>
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<tr><td class="tr-caption" style="text-align: center;">Marbella Barreto as Mother Earth in<br />
The Siege of Numantia<br />
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The story of the Numantinos and the burning of their city was pinned by Miguel de Cervantes Saavedra in 1582 with his tragedy titled: El Cerco de Numancia/ The Siege of Numantia. Cervantes enveloped the tragedy in descriptive dialogue and rhyme tercets, <i>redondillas</i> and octaves and it contains epic elements that describe allegorical figures and Spain as the <i>Madre Tierra</i> or Mother Earth. Famine, domestic misery, rage, patriotism, love, and finally mass suicide play a key role in the tragic denouement. </div>
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<tr><td class="tr-caption" style="text-align: center;">Leticia Alaniz, Carlos Ayala & Nichole Sánchez in<br />
The Siege of Numantia Directed by Cora Cardona<br />
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Artistic director Cora Cardona has brought to Teatro Dallas one of the best plays of the year by adapting a staging of the classical work that Cervantes gifted the world. Cardona’s adaptation is an intricate weaving of an apocalyptic ambiance that reflects on past wars as well as current wars in which destruction, hunger, and sickness are the inevitable outcome. Cardona’s vision shed light and political criticism on the condemnation of war by highlighting projections of the destruction of Syria, a current tragedy shaking the world that proves that the conquest of nations become the theater for tragedy and military, political and economic advancement. It is the sacking of the weak in their bleak misery for the glory of the powerful. </div>
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In some of the most horrific scenes of Cardona’s adaptation, the women bore arms with the men and cried for their slain. Others slew their children with their own hands and threw them into the burning flames, considering death preferable to captivity. Entire families set fire to their houses and cut their own throats. They would not succumb to the Roman rule of making a desert of death and call it peace. Immolation was the answer to combat slavery. </div>
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Cardona mastered a visual staging of an allegorical Spain as a bleeding Mother Earth weeping for the pain and suffering caused upon her land and rivers and the death of her children in which blood played a central role. Celtiberian resistance to Rome was fierce, but Numancia had defied the Romans even if it was left to ashes. </div>
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Cora Cardona is a master of the theater and she proved once again that her vision can be brought to life through the careful selection of an ensemble cast that can give voice to the tragedy of The Siege of Numancia. It's a privilege to be a working actor and an honor to have had the opportunity to work once again on the stage of Teatro Dallas under the direction of Cora Cardona. </div>
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The Siege Of Numantia Cast</div>
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Omar Padilla</div>
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Ignacio Lujan</div>
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Sixto Orellana</div>
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Sorany Gutiérrez</div>
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Marbella Barreto</div>
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Leticia Alaniz</div>
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Carlos Ayala</div>
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Enrique Arellano</div>
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Ninoshka Martínez</div>
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Martin Mejía</div>
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Nichole Sánchez</div>
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Fernando Lara<br />
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<tr><td class="tr-caption" style="text-align: center;">Omar Padilla in The Siege of Numantia<br />Directed by Cora Cardona<br />Photo Leticia Alaniz © 2016</td></tr>
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Written by Leticia Alaniz © 2016</div>
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Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com2tag:blogger.com,1999:blog-1235172441912175933.post-30279043714085978702016-10-05T15:10:00.000-05:002016-10-06T11:02:43.417-05:00Sonia Mendez García - A Chef With Mexican Roots<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Chef Sonia Mendez García<br />
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Chef Sonia Mendez García is the creator of one of the most popular Mexican food blogs, La Piña en la Cocina. It combines easy to follow recipes and a narrative that will pull you in even if you don’t cook. It’s food writing and appetizing photographs at its best. Each one of her recipes is carefully researched and prepared in her New York based kitchen. Scroll thru any of the photos on La Piña en la Cocina’s website and you’re bound to find delicious images that will make you hungry and feel inspired to cook her recipes in your own kitchen. The stories will make you feel right at home and they trigger nostalgia and emotion, especially if your memory is activated and you remember stories of your own upbringing. </div>
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Sonia grew up in Los Angeles and in Houston with a very typical childhood of baseball games, riding bikes, the roller rink on Saturdays and trips to Monterrey, Mexico twice a year. Those were the trips to her grandmother’s house where food became the binding glue that brought the family together.</div>
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For Sonia, food is love, it’s life and its what nurtures us. Her mom cooked everyday, therefore food was a focus of her daily routine and it’s what connects her to her family with each dish that she prepares.</div>
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Sonia got serious about food in the midst of cooking classes, but it wasn’t until she lost both of her parents when it became a goal to learn as much as possible about Mexican food, the food of her ancestors which took on a new meaning in life. What makes Sonia most proud is when someone writes to her and they express how a dish she has shared on her blog remind them of home. </div>
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Food has the power to bring us together and that’s how I met Sonia. It was like meeting a long lost cousin as we share a very similar background and may even share genes from our ancestral tree, with Sonia being from Monterrey and I from Allende, Mexico. And when Mexican cousins meet, its an automatic <i>fiesta</i>!</div>
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Sonia talks about what food means to her and what drives her very successful blog:</div>
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<b>SM</b> - When I was growing up, my parents owned a food business for a short time. Mom always sold her tamales during the holidays. I would say that’s how I learned that food could be a passion as well as a business. I was asked to teach Mexican cooking classes at the local kitchen store and that led me to get serous about the whole Mexican food scene. For the most part, my cooking technique and style is traditional but I do enjoy some fusion now and then. </div>
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<b>LA</b> - Are you considering opening a restaurant or which direction are you heading in now? Is a cookbook with your recipes stirring the back of your mind? </div>
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<b>SM </b>- At this point in my life a restaurant is out of the question. No restaurant for now. Been there, done that. It’s too much work. I would like to continue teaching and would absolutely love a cookbook filled with my recipes and stories. </div>
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<b>LA</b> - How have your roots influenced your cooking? Do you preserve your heritage thru your food?</div>
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<b>SM</b> - I would be nothing as a cook without the influence of my heritage, of my parents and extended family. I owe it all to them. My food is definitely and expression of who I am and the passion I feel for what I do. I feel like I have developed my own style but with an ancestral influence on the flavors. </div>
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<b>LA </b>- What other cuisines of the world have had an influence on you and what are your favorites?</div>
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<b>SM</b> - All the foods of Latin America inspire me, as well as indian and asian foods. I love all the spices! Flavors and ingredients that are on my list to experiment with in my kitchen are what make up Spanish cooking, which in a way was influenced by Mexican cooking. </div>
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<b>LA </b>- What is the heart and soul of your flavors?</div>
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<b>SM</b> - The heart and soul to me is believing and standing by the ingredients. As simple as fresh chiles, tomatoes and onions can be, they can also yield the most organic and delicious flavors. It takes us back to the soul of ancestral cooking. </div>
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<b>LA </b>- Would you say that Mexican cuisine ranks among the top in the world and one that is replicated in other cultures? </div>
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<b>SM</b> - Yes and yes! True Mexican cuisine is an art. One never stops learning and I hope to continue taking it to new levels in my own repertoire. </div>
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<b>LA</b> - What would you say is your everyday food or dish that you put together for breakfast, <i>la comida</i> or dinner that you repeat often?</div>
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<b>SM</b> - Breakfast on the weekends, always <i>papas con huevo</i>! Basically its a comfort dish of fried potatoes with scrambles eggs, chiles and salsa, served in warm tortillas and they’re anything but simple and so enjoyable. <i>Comidas</i>, all kinds of tacos. Dinner, <i>guisados</i> and rice are a must! </div>
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<b>LA</b> - What’s your favorite <i>antojito</i> and main dish? </div>
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<b>SM</b> - My favorite antojito would have to be churros de maíz that Dad used to prepare from the freshly blended nixtamal masa. With fresh lime and chile, of course! The main dish would have to be Mom’s bean and jalapeño tamales hands down. So simple but so delicious. It’s dishes like these that bring me comfort. </div>
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<b>LA</b> - What has been the most recent ingredient you acquired that was extremely rare and expensive and what dish did you use it in?</div>
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<b>SM</b> - For me it would have to be squash blossoms or <i>flor de calabaza</i>. They’re very hard to come by where I live in New York. I prepared them simply stuffed with <i>queso chihuahua</i>, covered in a batter and served in spicy <i>caldillo de jitomate</i> or tomato broth. They were to die for! </div>
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<b>LA</b> - What is one of the most memorable meals you have had and in what country?</div>
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<b>SM</b> - In 2011, I finally returned to Monterrey after a long absence. My Tia Minerva prepared <i>pescado gratinado</i> which is a fish au gratin. It was prepared with minimal ingredients but so tasty and it reminded me of the seafood of my childhood. Sadly, we recently lost her and she will never know how much it meant to me to spend that time with her. </div>
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<b>LA</b> - Simple dishes prepared by our loved ones always give us strength and they always have the magic of bringing back the loving memories of our past. That’s why it’s so special to keep the recipes of our grandmothers alive. You definitely transported me to savor the wonderful fish you describe. Is there a personal anecdote from your formative years that you remember that had an influence on you to become a chef?</div>
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<b>SM</b> - As a teenager during the summer, I would help distribute free lunches to low income children. It was very rewarding to share food, its something that I continue to do any chance I get. Always pay forward whenever you can. </div>
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<b>LA</b> - I agree with you on that! Sharing food makes us more human and it gives us dignity. </div>
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<b>LA </b>- Are there any personal challenges or obstacles that you faced as you were becoming a chef?</div>
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<b>SM</b> - Yes! It wasn’t easy trying to sell authentic Mexican food to the general public. Especially since they had not tasted the authentic flavors and were used to the industrialized flavors of Tex-mex restaurants which aren’t even Mexican at all. </div>
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<b>LA</b> - Do you dream about food?</div>
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<b>SM</b> - Absolutely! It never stops! Lol! I dream about cooking, eating, savoring and then cooking some more. I love to participate in cook-offs, Chef’s night at kitchen stores, celebrity chef dinners, etc. Recently I was at a chef dinner with Aaron Sanchez, whom I admire for his bold flavors and style. </div>
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<b>LA</b> - Aaron Sanchez got his start in his own mother’s kitchen, the well known chef Zarela Martinez which I have admired and followed for years. What other chefs inspire you?</div>
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<b>SM</b> - First, I admire my parents and all that they taught me about food. Another one of my favorite chefs is Rick Bayless, although he’s not Mexican, I admire his passion for Mexican cuisine. Chef Aaron Sanchez is Mexican American like me and he’s a good role model showing that hard work pays off. My friend, chef Raul Vazquez, who I finally had the pleasure of meeting in person and enjoying his most delicious Mexican food. Just listening to him speak of the food and his work is inspirational, you know he’s very passionate about what he does. I admire that very much. I also admire avant-garde chefs for their experimental foods such as molecular gastronomy, although I can’t say I would understand it or would even try to prepare it, but its inspiring to watch how passionate the chefs are when they prepare their dishes, which are works of art. </div>
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<b>LA</b> - In your kitchen, what is the basic setup and what are the essential items you can’t do without such as <i>cazuelas, ollas, molcajetes</i>, etc…?</div>
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<b>SM</b> - My kitchen is very small! I’m forever prepping ahead of time just to keep up. Essentials are good knives, strong cutting boards, prep bowls, <i>cazuelas</i>, a <i>molcajete</i>, and a good blender! I like to keep it simple. </div>
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<b>“My philosophy in life when it comes to food always gravitates towards the traditional. I don’t take shortcuts. When you take the time, your passion will shine and everything will be portrayed on a plate of food. I believe simple is best. Going back to our roots is where our true colors come thru, it’s our personality.” - Sonia Mendez García</b></div>
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Sonia is a chef, food writer, entrepreneur and creator of <a href="http://pinaenlacocina.com/" target="_blank">La Piña en la Cocina</a> website. She is also a resident chef at Hispanic Kitchen, a collaborator at Que rica Vida/General Mills and teaches cooking classes at select chef events throughout the country. </div>
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Sonia graciously shared with us a very special dish which was taught to her by her mother, whom learned the traditional recipe from her ancestors: <b><i>Asado de puerco en chile colorado</i></b>. It’s a rich, savory dish that every <i>norteño, </i>meaning from the northern part of Nuevo León, Mexico is familiar with and one that is traditionally served at special <i>fiestas</i> and <i>bodas</i> or weddings. </div>
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<a href="http://pinaenlacocina.com/2016/06/03/asado-de-puerco-chile-colorado" target="_blank">http://pinaenlacocina.com/2016/06/03/asado-de-puerco-chile-colorado</a></div>
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Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com1tag:blogger.com,1999:blog-1235172441912175933.post-50647011546577386432016-09-15T10:20:00.001-05:002018-11-09T11:23:34.984-06:00Chiles en Nogada - Mexico's Patriotic Dish<div dir="ltr" style="text-align: left;" trbidi="on">
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In late July and into September, markets in Mexico start having a peculiar resonating sound that resembles light wood or sticks being hit against each other. Melodious calls and chatter invite passersby with, <i>¡Nueces, nueces de castilla!</i> In other words, <i>There are walnuts, lots of walnuts everywhere!</i> Walnuts are picked from the trees that grow at the foot of the Popocateptl volcano in Atlautla, Estado de México and they’re brought down to the valley on large hand woven baskets. The cracking of the walnuts enlivens the markets in one of the most festive times of the year as the date of <i>El Grito</i> and the anniversary of the Mexican Independence approaches on the 16th of September. The <i>nueceras, </i>or walnut vendors beat the nuts quickly and efficiently with only three or four knocks to crack them and reveal their sweet, tender fleshy inside that is used for the <i>nogada</i> sauce; a creamy, fragrant blanket that will be spread delicately over one of the most emblematic and historical dishes of Mexico: <i><b>Chiles en Nogada</b></i>. </div>
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Along with the walnuts, your eyes will delight in the shimmering glitter of ruby-red pomegranate seeds neatly mounded in petite mountains that vendors proudly display. The pomegranate seeds or <i>granadas</i> as they’re called in Mexico, are like glistening jewels that decorate and add crunch to the <i>chiles en nogada</i>. Undoubtedly, its one of the most impressive and delicious manifestations of the Mexican culinary arts.</div>
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But those are only two of the star ingredients in the dish. The creation was born out of the convents of Puebla in which the Augustine nuns took advantage of up to one hundred seasonal ingredients and utilized them in their ripest glory. But Chiles en Nogada would not have existed without the indigenous women in the kitchen that lent their ancestral knowledge and tecniques to the dish. It was a collaboration of cultures. <br />
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Grilled poblano chiles are stuffed with a spicy, fruity meat <i>picadillo</i> and sparkly pieces of <i>acitrón</i>, the dried candied flesh from the <i>biznaga</i> cactus that grows in the dessert; then they’re lightly dipped in an airy merengue batter called <i>capeado</i> and fried. Finally, they’re cloaked in the most creamy, walnuty delectable <i>nogada</i> sauce finished with a touch of dry sherry and decorated with granada seeds and fresh coriander leaves. </div>
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As with all things wonderful, industrial harvesting has had a negative effect on the cati. The <i>biznaga</i> cactus grows very slow and over the years it has become a highly threatened species. In recent years, in order to protect the species, harvest of the cactus has been made illegal, negatively affecting the indigenous populations that would harvest the cactus on a small scale as they have been doing for thousands of years for their sacred ceremonies, as well as for food and medicine. In the caves of Tehuacan, Puebla, there is evidence of the use of <i>biznagas</i> dating back to 6,500 years. </div>
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There are several versions on when exactly the Chiles en Nogada first made their appearance on Mexican tables. But there’s no doubt that they made they’re historic debut around an important celebration which occurred in 1821, when the self-declared emperor, Don Agustin de Iturbide signed The Act of Independence and The Córdoba Treaty after The Mexican War of Independence in 1810. </div>
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In the kitchens of the convents, the nuns were in a joyful patriotic frenzy and in the spirit of the celebration, they decided to honor the entrance of Agustin de Iturbide with a delectable dish which would also serve as a tribute to the Tri-Color army or <i>Ejército Trigarante</i> who fought for independence and donned the colors: green, white and red on their flag: Mexico’s National flag. It coincided exactly in the month of September when the <i>nueces de castilla</i> or walnuts and pomegranates are harvested along with many of the other seasonal fruits. </div>
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Chiles en Nogada are a great source of national pride and a tradition in Mexican kitchens; it's a Baroque dish clearly symbolic of the Mexican flag with its vibrant green, white and red; green for the chile and coriander leaves, white for the <i>nogada</i> sauce and red for the pomegranate. It sets it apart as one of the most historical and unique in the world and it rightfully became Mexico’s most patriotic dish. </div>
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Chiles en Nogada require many separate preparations, but don’t be intimidated. All of them can be prepared well in advance and the <i>capeado</i> is the only last minute effort. It's my favorite season and I just take it one step at a time.</div>
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Finally, when you serve the commemorative dish to your guests, it will surely impress- <i>con gusto! </i></div>
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<i> </i><b><i>¡Que chula es Puebla! </i>How beautiful is Puebla!</b></div>
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Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com1tag:blogger.com,1999:blog-1235172441912175933.post-70607457274758216022016-08-05T15:54:00.000-05:002016-08-10T11:26:59.989-05:00Toddlers Learn To Write<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">A Toddler Learns to Write<br />
Photo by Leticia Alaniz © 2016</td></tr>
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At an early age, children become aware that written symbols, such as letters, pictures, or lines from their imagination represent real objects that have meaning for other people. This awareness lays the foundation for them to become writers and readers. As soon as they understand that letters stand for sounds and that groups of letters become words, thus begins their lifelong journey of communication.</div>
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If given the tools for writing and drawing, a toddler can learn to make scribbles that develop his imagination and writing skills as early as 18 months. Soon enough, he will achieve motor coordination in his hands and will develop a special meaning that lays the foundation for learning. </div>
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Children naturally become enthusiastic if they’re encouraged and their “art” is appreciated. His daydreaming and curiosity could be a clue of developing stories that he may want to express. By the age of three, a toddler may be talking full sentences and therefore, crafting his stories. </div>
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As Maya Angelou once said, “There is no greater agony than bearing an untold story inside you.”</div>
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Every child learns at his own pace, some toddlers are interested only at looking at pictures or playing with other toys, while others seem to be restless or find it difficult to be seated for longer than three minutes. But the most important thing to remember is to be encouraging, give lots of hugs, and enjoy the special moments of his learning milestones through this wonderful journey as he explores his world.</div>
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By Leticia Alaniz</div>
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Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com1tag:blogger.com,1999:blog-1235172441912175933.post-25084523859047362542016-07-26T09:07:00.000-05:002016-08-12T12:52:11.881-05:00Love in the Time of Kahlúa<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Photo by Leticia Alaniz © 2016</td></tr>
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If Love in the Time of Khalúa sound like words you might have uttered or read before, that’s because they’re a play on words based on the great classic novel, Love in the Time of Cholera by beloved Colombian novelist Gabriel García Márquez. They’re words that lead you to a delicious cocktail that includes as it’s main ingredient the novel (of course) and the Mexican coffee liquor Kahlúa. </div>
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“Never settle… even for a doctor… with a hot accent. Otherwise you could go for a half-century till you find the real thing.”</div>
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Tim Federle, an award-winning American novelist, actor and theater librettist came up with the clever novelty cocktail recipe book, <i>Tequila Mockingbird</i>: <i>Cocktails with a Literary Twist </i>based on his own mother’s book club which involved great literature and good wine of course!</div>
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“In Márquez’s version of romance, the zipper-straining desire of the trio of lovebirds is practically an illness eating his characters from the inside out.”</div>
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Those who have read the novel know exactly how the fifty-one year romance lead to the two lovebirds eventually being reunited after the first husband (the doctor) dies. The main characters, Florentino and Fermina, lovers in their youth, exchange several love letters but Fermina realizes that her relationship with Florentino was nothing but a dream and she breaks off their engagement to marry a doctor with a good reputation in society (not to mention that he’s rich). </div>
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Florentino, even after she broke off their engagement and she married, continued to wait for her. Five decades pass… you might as well prepare several of these Kahlúa cocktails because it’s a juicy read. It’s in the time of the cholera epidemic… It’s hot, humid and it will cool you off. </div>
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The doctor, Juvenal Urbino at his elderly age climbed on a ladder to attempt to get his pet parrot out of a mango tree, only to fall off the ladder and die. It’s Florentino’s chance to proclaim his love for Fermina who is now a widow still wearing black dresses. He hardly even waited for the funeral to be over, what a nerve! </div>
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Love in the Time of Khalúa is one of the many cocktails that will inspire you to read more of the classics or if you’ve read them, then you can revisit them with a good cocktail that evokes rich literature. Other cocktails in <i>Tequila Mockingbird: Cocktails with a Literary Twist</i> include, One Flew Over the Cosmo’s Nest, A Cocktail of Two Cities, Howards Blend, The Count of Monte Cristal, A Farewell to Amaretto, The Malted Falcon, and many more.</div>
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Other titles by Tim Federle:</div>
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The Great American Whatever</div>
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Gone with the Gin: Cocktails with a Hollywood Twist</div>
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Better Nate Than Ever</div>
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Hickory Daiquiri Dock: Cocktails with a Nursery Rhyme Twist</div>
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Five, Six, Seven, Nate!</div>
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Tommy Can’t Stop</div>
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For the cocktail:</div>
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1 Part Kahlúa</div>
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2 Part Rum (or Vodka)</div>
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1 Part Heavy Cream</div>
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1 shot of cold espresso</div>
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Fill a rocks glass with ice cubes. Add Kahlúa and Rum, finish up with a cream layer. You can sprinkle a little bit of nutmeg or cinnamon on top and drink to passion. </div>
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Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com0tag:blogger.com,1999:blog-1235172441912175933.post-77109653178826574412016-06-20T19:16:00.000-05:002016-06-21T11:14:27.769-05:00Viola Delgado - Artist in Overalls<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Artist Viola Delgado<br />
Photo by Leticia Alaniz © 2016</td></tr>
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I don’t know anyone who's been lucky enough to meet Viola Delgado who is not fascinated by her. There’s something about the way she dresses in long, worn, faded overalls patched throughout in colors to match her painter’s palette and a bright crimson smile. Usually, she wears smart specks and when she speaks, it’s soft yet she commands attention with her fascinating stories that only she knows how to tell. She’s a living raconteur with an understanding voice about life, nature and infinite beauty of the universe which she translates into narratives on canvases, murals and sculptures. She has a passion for the simple details and vibrant color. Her prodigious curiosity competes with her transcendent wholesomeness in a calm, peaceful manner and best of all, her gentle humor shines thru in just about everything she says.</div>
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Her poetry is private, yet she uses a certain quality of language that evokes meaning. Perhaps it’s the way that life has had a hand in shaping her personality. Much of her poetry translates directly to her visual pieces. Her paintings can be a verse of nature, love, idealistic aspirations, the struggles of women or even death. Much of her writing is written by hand in the form of memos, letters, poems, thoughts and stories in leather bound hand made books which also include small drawings.</div>
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In her formative years she attended Dallas Baptist College where she studied Psychology and Sociology. Later she went to Art League School in Alexandria and studied printmaking. But that was a long way from Sinton, Texas, a small town just outside of Corpus Christi where she grew up as a young girl. </div>
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<b>Viola revisits her past and expresses her gratitude in her simplistic upbringing that greatly influenced her artistic style</b></div>
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My parents set a great example and they wanted my two brothers, my sister and I to be the best that we could be. We lived a simple life close to the beach in a two room house. A curtain divided a living room from a make shift bedroom where my bother and I slept in one bed and my parents slept in another. A small kitchen was next to it. We used a large tub to bathe in. Mother would warm water on the stove and pour it in the tub. She always made it fun. We also had an outhouse. Later a room was added. This room was on our property but not attached to the house. Later the room was attached and became a bathroom and a bedroom for my parents. I have to mention the tub in this bathroom was pink. I’m sure someone gave it to my parents, but that was the first house my parents actually owned. Our evenings were spent at my maternal grandmother’s house, while my aunts and ladies in the neighborhood would all gather for coffee. During the summers we would go to the beach on Saturdays. The women would take all the kids in the morning and the men usually arrived in the afternoon. We would cookout, there was lots of singing and laughing. I believe that my imagination strongly developed during this time. I spent endless hours looking at the sky and beyond the ocean. I would imagine what would lie on the other side. I loved to spend time listening and looking. The ocean waves sounded like soft, strong rhythms. Sometimes I close my eyes and go there, especially when life gets a little rough. </div>
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School was always an important factor growing up and my father went to great lengths to ensure that. He had a third grade education and worked hard as a janitor at my school, but he never gave up. Later he went to welding school and moved the family to Plano and then to Garland. My mother had trained as a nurse but when I was born she decided to stay at home to raise me and my siblings. </div>
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Growing up I’m sure there were economic hardships. There was an older woman named Chentita who helped my mother. Sometimes she would babysit or just helped hang clothes on the line. Mother cleaned houses at the Plymouth Petroleum encampment. She also drove other ladies to the encampment to clean houses. There was a house in which the VP of the company lived and my mother loved to clean that house. She would make believe it was hers, thinking of ways she would decorate it and which would be my room and my brother’s. The house had porcelain light switch plates. Several years later the company closed and my father decided to buy the house for my mother. He could not place a bid because he was Mexican American, so he got his friend Mr. Henry, who also loaned him the money to place the bid for him. The house was then moved to a lot in town. It had a big screened porch and those porcelain light switch plates (which I still saved). The house still stands in my hometown. </div>
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We didn’t have much money but my mother was a minimalist anyway. We didn’t have more furniture than we needed and it was never a cluttered house. When we moved into that house we always ate together at a big table. By that time there were four children. One time I remember Mother saying that we were going to eat like the “white people” did. This meant that we were going to get dressed up and have hamburger patties on a slice of bread with white gravy over it and homemade fries. We were only allowed to have one serving because “white people” didn’t have several servings. Many years later she told me the reason she did that was because there wasn't a lot of money so she had to stretch the food. She would use half a can of Pet milk, mix it with water and place it in the fridge for our cereal. I never liked the taste or the smell, even to this day. I know there were hardships, but our house was always busy and happy. My mother passed away at 68 and my father a year and a half later.</div>
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<tr><td class="tr-caption" style="text-align: center;">Floating Women Oil on Canvas by Viola Delgado<br />
Photo by Leticia Alaniz © 2016</td></tr>
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I think my culture and upbringing is definitely represented in the subject matter and color of my art. As I mentioned before there was a woman (Chentita) that lived next door to us in my younger years. She was sort of old fashioned in her dressing and style. She wore long skirts and rebozos, her hair was always in a bun and she cooked on a wood burning stove. She was the nicest woman, I really loved her. Years after I started painting I was in an interview at a university and was asked where I got my images. Did I spend time in the Mexican countryside? I said no. As the woman was asking me questions it dawned on me that the women in my paintings were Chentita! Voila!! I had never realized or made that connection, it was definitely her. I didn't know that she had left such an impact on me and that years later there she was back in my mind. So yes, I would definitely say that there is some representation of my upbringing. I also did a painting of a grandmother holding a baby. Later I made the connection that it was my grandmother Pabla holding the baby. So I think that these memories cannot help but come thru onto one’s creation.</div>
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<b>On the challenges of being a woman artist </b></div>
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<tr><td class="tr-caption" style="text-align: center;">From the writings of artist Viola Delgado<br />
Photo by Leticia Alaniz © 2016</td></tr>
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I never experienced discrimination as a latina artist, but as a woman in the art field I think we do experience some discrimination, such as at times society sees us not as professional artists but as art being a hobby for us. Where as for men it’s a profession. In the art world it’s been defined this way for many years. I do believe it’s getting better with technology and I feel it levels the playing field a bit more. Being a professional artist is like someone owning their own business. You do your work, if someone likes it enough they buy it. It’s always hard, never easy and more so never easy to let go of cherished art work. But I’m always glad when it goes to someone that appreciates my work. You never quit thinking about it, images, ideas, you see them, feel them, they’re always all around you and then on top of that, most people don’t understand you. There are times people might think you’re odd, not with the norm, and sometimes your friends or family don’t want to talk about art. So at times you find yourself feeling alone. I think it’s hard for artists and even harder for women artists. But there’s a strong movement towards changing this thought. I myself am working hard to make that change. As for challenges, I’m a lousy business woman. <span style="color: #212121; font-kerning: none;">Yet I try to be reasonable in my pricing. I was once given great advise by an art critic when I asked how I should price my work. He said, “Do you want to keep your art in the closet or do you want to sell it?” I always kept that in mind. It was the best advise I got and I pass it on to other artists. I’m not in gallery circles much so most of my work is sold thru word of mouth or when shown in exhibits. That has been my most successful method. I have great business women and friends around me that always network for me.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">From the writings of artists Viola Delgado<br />
Photo by Leticia Alaniz © 2016</td></tr>
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<b>On being single</b></div>
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asked if I was married or ever had been, and of course I would say no. I never felt like I had to be married, my parents never asked me when or why not. The people that would ask were usually people I grew up with or my relatives, never my immediate family. I did come close to being married, but we both decided against it, mainly because we both wanted different outcomes in our lives. He did marry someone else shortly after that so I don’t think he cared who he married. Later I found out he was really in love with my roommate rather than with me. I found a letter many years later where she said no and never. I’m so glad that went south. I think in my generation girls were encouraged to marry and many of my classmates married young. Some are still happily married but others have been divorced. I think that in today’s time, it really doesn’t matter whether you’re married or not.<br />
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<b>Religion: God’s Nature</b></div>
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I was a Catholic girl going to a Baptist College. In my circle of friends most of them were preacher or missionary kids. They were usually from overseas countries I would have only dreamed of what they were like. I would always ask my mother what was past the ocean that was before me and her response was, “Look it up in the encyclopedia that we’re still paying for.” Anyway, I was always asked where I went to church by my classmates. I guess where you went to church was a big thing, so I would say I’m catholic. One day I decided that I was tired of answering so I changed my response. I said, “I go to the church of God’s Nature.” They would never ask where it was, which I was grateful for. As I get older and as an artist I feel that I’m in God’s presence every time I see a bird, a tree, take a walk to process my thoughts, see a baby, or children playing freely, or gaze at the clouds. I feel the presence mostly when I paint or write words or thoughts. This to me is my most spiritual time of my life. Maybe it’s because as artists we at times have to sweep the floor of thought and it might not be so pretty that we need our spiritual self to be present. This is my balance and sanity.</div>
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<b>Leaving a career in psycology to become an artist</b></div>
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<span style="color: black;">Before art I was working with the Dallas Independent School District in the migrant program. I was assigned schools </span>that I would visit to find out if they had any migrants that were coming from places such as Michigan, California, Florida, etc. places known for migrant workers. I would visit their homes, with the parents of the students to find out if they had done fieldwork. I really enjoyed meeting some of the parents in their homes, they were always friendly. It was like living in a small town drinking coffee with them and getting to know their children. The problem was that I was not happy with my work situation so I left. <span style="color: black;">I had always liked art, I’ll always credit my mother for that. She would make stick figures on handmade coloring books. She would tie them up on pretty strips of cloth from flour bags. They were usually remnants from a dress she had made for me. Or she would use the metal from the coffee cans. Those were my first tools. Even though I studied psychology and sociology and had a good job, I left all of that behind and in 1986 I followed my passion and started doing artwork. I attended a community college and then the Alexandria Art League School. I started with printmaking which I found most interesting. At the Discover Graphic Atelier housed with Art League School I studied under the guidance of Japanese printmaker Alan Kaneshiro. Kaneshiro and Penelope Barringer were the founders of the Atelier. I later developed an allergic reaction to some chemicals I was using so I went back to painting. I still do some printmaking using drypoint. This is not work that I exhibit much so not many people are aware that I work in this media. </span>I was young and thought it was no big deal to look for another career, what I didn't know was the profession I had chosen was not an easy one. But it was worth the sacrifice. I cannot imagine doing anything else.</div>
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<b>A therapeutic technique: “The design is all in my head”</b></div>
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Most of my artwork is designed in my head first. I actually think of all that goes into the artwork, every line, color, movement, the whole design, which is therapeutic for me. By the time I go to my surface it’s 90% completed. I never make sketches or preliminary drawings before I paint. That’s not to say that I might not decide to add something else to it but it’s almost done. This is because my mind is like a ticker tape that runs rapidly across and the images are picked out and placed in the artwork. I put some back and sometimes keep the images. It’s like that when I write, very fast. There are some images that stay for a long time and then alter into other images. I have created paintings that have a repeated image, over and over. I once did an art piece with an image of small blue squares and a sun in each square, one after another on one huge paper. I created others with different patterns but in the same style, although I found these to be the most exhausting pieces I had ever done. </div>
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<b>Avoiding the human face</b></div>
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I avoid making faces in most of my paintings. The face expresses emotion and I like the viewer to associate themselves with the image with their own interpretation. Sometimes the viewer will comment about the image reminding them of their grandmothers, mothers, someone that they know or knew in their lives. This makes me feel like it has touched them in some way. It’s always a good feeling, when they can relate to an art piece. I started with paintings of women in rebozos doing different things but never showing their faces. It has been mostly flat painting with not much depth. They were very colorful. One day I woke from a dream of laying on the ground looking up at the sky and a red wall. I thought the ache in my hands was enough to have me start a new series. Later it was just clouds, not the whole sky as I saw it but just snippets of the sky. One day last year I start to bring them all together but this time the red was a box on a table that sat in a field. No chairs around the table but one chair in the far distance. I found this thought and its transformation very moving because it said to me that I was bringing them all together. Making on image a part of another, like an embrace. It’s a spiritual reunion. It made me shed a tear when this was finished. I still look at the image and find much narrative and creative narrative is always in my work. Something that leads to a thought. This is because I feel that my artwork is a thought in transformation. It’s always on going. I use bright colors to bring it alive, to make it speak, to express my culture. I once worked with a woman that was elderly, Mrs.K. Doolin. Every time I worked with her we had a fresh bouquet of flowers, beautiful flowers of all colors. She and I would sit and work with soft pastels. I would get carried away with my usage of color, until one day one of her nurses, a caregiver said that I shouldn't use too much color because Mrs. Doolin was spending time looking at my artwork and not doing her art piece. In other words I was being a distraction. So I toned it down, as much as I enjoyed working with Mrs. Doolin it was a paid job. One day I’m working away and she stops her work and is looking at me, when I asked if she needed a color or another paper she said no. She then said there is no bright color. Mrs. Doolin sometimes had trouble articulating but this was one time she had no trouble telling me what she saw. So I went back to using my bright colors. Nothing was said about that again. On the last time I worked with her she was on her hospital bed at home. I was working on one single rose. The nurse had turned her towards me and by that time she was going in and out of sleep. I kept working. All of a sudden out of nowhere she said "you make things dance". That is the way I want to remember her.</div>
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<b>Working while listening to old country western music and poetry</b></div>
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I try to stay with the flow of my thoughts. So far I have had probably five series that I have worked on. One is the women, two the red walls, third the clouds, fourth is printmaking, fifth sculpting. Sometimes I get caught up in working in one series for a lengthy time and then don't come back to it for a while. I like finding new ways in translating my idea, my thought thru these methods mentioned. I once had a work sculpture that I had designed and it took me 20 years for it to become a steel sculpture. I teased that it took me 20 years to give birth to it. I like to design and I have pages of designs that will someday come into fruition. When I paint I like to listen to music or poetry. Not many people that know me know that I like the old country western music, George Strait, Dolly Parton, George Jones, etc.. When listening to poetry I like Robert Hastings, Sylvia Plath, Ezra Pounds, Robert Frost, Langston Hughes, Pablo Neruda, and Borjas, etc. I never can remember anyone of the works but I can listen to the same one as if it were new to me. Except for the Robert Hastings poem <i>The Station</i> and even then it is only a frame that I remember. Sort of funny because I listen to them over and over again.</div>
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<b>Her thoughts are like a ticker paper, they run endlessly</b></div>
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I sometime write when I am not painting. I again say that my brain and thoughts are like a ticker tape, they run endlessly. I think there is medication for that right? LOL! But I take advantage of these moments. Sometimes they’re sad times and I work thru thoughts by processing them with words. I tend to suffer or have moments of depression and so I have found, that for me, writing or painting helps a lot. It doesn't always go away but it just helps me deal with it. I had serval journals full of writings and images going back to my childhood that were stolen by a semi-friend that had schizophrenia. One day he found out where I lived and came over. I had asked a neighbor to join us being that I didn't want to be alone with him because he was not taking his medications and sometimes that was not a good thing. While my artist friend and I were in the living room he went to the bathroom and ended up in my study taking my journals in his trench coat. I was so devastated to find out later but was afraid to confront him. He was a great person who spoke many languages, quoted great poetry, and was a math genius. He was part of a coffee group that I had joined every morning at the Madeleine Café. Yet when he was not on meds he was not himself and could be mean. Later I found out he died in a fire while living behind a gas station, a sad situation. I did find out that he had the journals because he told others that he they were his. This was before computers. A life was taken in those journals… The funny thing is that he also took all the labels off anything in my pantry. So I would laugh every time I had to open a can. Oh well, so it goes. I do have plans to someday publish my own poetry or stories. I have some poems that are written about certain paintings and maybe I could combine both. I would love to do a book in clouds and red walls. I really don't have regrets because all that has happened in my life is meant to be or a lesson in life. There are times that I should have gone south and went north but what I found by going north was an adventure.</div>
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<b>The glass mosaic medallion at the DFW International Airport and other public sculptures</b></div>
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I’m proud of most of my work because it takes so much out of me emotionally to create that it’s a miracle that they get finished. But I guess the public art is something I’m proud of. I love that so many people look at it on a daily basis. The glass mosaic medallion at the DFW International Airport gets seen by thousands of people. The Lake June and Rowlett DART Stations also get seen many times over. The sculpture at the Dallas Latino Cultural Center which people see as they are sitting at the light or driving by. It doesn't matter if they know who created it, what matters is that they’re there for others to see to experience, and hopefully they remember it at some point. They are like my children, you want them to shine, to be enjoyable while they’re out of your site. They’re there so that many years later my own family can see them and know that part of their bloodline created that art design. Hopefully they will not forget me as part of their ancestry and they’ll be proud of where they came from. And as for dreams for the future, I want to create more public art pieces, more images, and write more poems. I have wanted to go to different parts of the world and paint under different light. I want to see different skies and clouds and how they affect the painting trying different methods. </div>
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<tr><td class="tr-caption" style="text-align: center;">Artist Viola Delgado<br />
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Viola Delgado’s paintings and public large scale sculptures are a heritage that she will continue to contribute to. She finds inspiration in the simple aspects of life and the changing moods of the scenery that surrounds her. Her body of work forms an indelible scene of the narrative she portrays thru vibrant colors and simple stories which we can all relate to. <span style="color: black;">The dream state of her own omniscience has remained strong and directly nurtures her unique imagination which we can all appreciate thru her work. </span></div>
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<span style="color: black;">Delgado's murals can be found at the Latino Cultural Center, Dallas; Stevens Park and Tolbert Elementary Schools, Dallas; the Dallas West Library Courtyard; the Dallas Area Rapid Transit Station; and Vickery Village/Buckner Baptist Children's Home, Dallas. One of her extraordinary medallions is located on the Departure Concourse of the Dallas/Fort Worth International Airport. </span></div>
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Written by Leticia Alaniz © 2016</div>
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Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com0tag:blogger.com,1999:blog-1235172441912175933.post-68403377250232990342016-04-17T11:18:00.000-05:002017-12-27T18:07:51.624-06:00Cloris Leachman - Becoming Ruth Popper In The Last Picture Show (1971)<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Cloris Leachman as Ruth Popper in The Last Picture Show (1971)<br />
Director Peter Bogdanovich</td></tr>
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In the decade of the 1970’s, American cinema culture was experiencing a trend of films catering to the younger generation with films such as <i>The Graduate </i>and<i> Saturday Night Fever</i>. Gritty crime films with elements of film noir such as <i>The Godfather I and II</i>, <i>The French Connection</i> and <i>Serpico</i> were enjoyed in theaters throughout the country. Full splashy color became the norm and big-name studios demanded it. Blockbuster had its beginning in 1975 and was another money-making distribution option. </div>
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But there were still a few directors who set their talent on the traditional black and white celluloid for their storytelling efforts. Such is the case of Peter Bogda<span style="text-align: left;">novich with his film The Last Picture Show, released in 1971. At the time, his decision to film the script in black and white was considered a big commercial risk, but his artistic instinct stood ground and that was what gave the film its monochrome richness and a more compelling intention with the period. It’s such a beautiful form and the cinematography by Robert L. Surtees gave the film the luminance of the classics that can only be captured in black and white.</span></div>
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Faces in the film are bright, beautiful and dewy just as they should be. Nothing could take away from the actor-driven drama of the coming of age bittersweet picture. There are so many strong characters, yet one of my favorites in which a female lead shines is that of Ruth Popper. </div>
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<a href="https://1.bp.blogspot.com/-A9A9o7UgvsQ/VxOzfZ_5sVI/AAAAAAAABEM/DWytBp-XQegDCanYYU82j_FPSETtdRyHwCLcB/s1600/the_last_picture_show_poster.jpg" imageanchor="1" style="clear: left; float: left; font-size: 12px; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://1.bp.blogspot.com/-A9A9o7UgvsQ/VxOzfZ_5sVI/AAAAAAAABEM/DWytBp-XQegDCanYYU82j_FPSETtdRyHwCLcB/s400/the_last_picture_show_poster.jpg" width="263" /></a>In The Last Picture Show, Ruth Popper greets Sunny at the door, “Hello Sunny, what you want?” The scene opened with the immediate introduction of the young high school student Sunny, and the wife of the high school coach Ruth Popper, played by Cloris Leachman and Timothy Bottoms, respectively. The coach had asked Sunny to drive his wife to the doctor’s office, which she frequented often due to her “depression”. The underlying yet unspoken background to the story of Ruth is that the coach was not affectionate with his wife and preferred the company of the star athletes of the football team. Undoubtedly, the sad circumstance left Ruth in a loveless, dark and icy marriage. </div>
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There’s an overwhelming power to the script and the deep-rooted story of The Last Picture Show. There was an air of nostalgia and critical acclaim for the film that marked a brilliant portrayal of a small West Texas dusty town called Anarene. The period is set in the 1950’s with original music playing in the background by country stars such as Hank Williams, Eddy Arnold, Phil Harris, Bob Williams And His Texas Playboys, and Lee Morris with his romantic song Blue Velvet, among others. Hard gushes of wind blow thru the street into the pool hall and thus we’re transported to the stark, black and white scenes of the pain and boredom of the little town that is slowly dying economically and culturally. </div>
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In a way, the blues ballad by Hank Williams, ‘Cold Cold Heart’ that carried scenes in the film mirrors the overall sentiment of Anarene society: <i>A memory from your lonesome past keeps us so far apart, why can’t I free your doubtful mind and melt your cold, cold heart? </i></div>
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It’s close to Christmastime and the cold wind is only one of the intricately woven elements to the multi faceted-film. When Sonny drives Mrs. Popper back home from the doctor’s office, he asks her if it’s anything serious, to which she drearily reveals a small sentiment to Sunny of her deep, unspoken depression. She’s tormented in a sexually abandoned relationship with a man that does not care for her. It’s at that moment that Ruth discovers she can find solace and comfort in the company of the sad-eyed, seventeen-year-old Sunny. </div>
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Sunny presumably has a home to go to, although distant from his father but his life centers around his old pick-up truck. After breaking up with his girlfriend, he finds comfort in the fond way Ruth treats him. In return, Ruth desperately needed someone to talk to and appreciated Sunny’s friendship. Anyone would have sufficed, even if that meant a dimwitted teenager. </div>
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Ruth Popper is slow and shy and she suffers a long line of marital cruelties. Before the morning is over, she unveils a tear-filled nervous breakdown in front of Sunny. Sunny reacts emphatically and his tenderness is appreciated by the lonely and emotionally impoverished Ruth. From then on, they begin a series of afternoon appointments that complicate Ruth’s sadness and hunger for attention.</div>
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In the circumstances of the story, Ruth wants the friendship with Sunny to be healthy, after all, she’s much older than him, but she gives in to his arresting charm while she’s searching for acceptance and understanding of her loneliness. </div>
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Ruth showers Sunny with affection that’s both motherly and at the same time romantic and sexually charged. Nothing this imbalanced can stand a chance, not in a small town like Anarene where they became the subject of daily gossip. It was doomed right from the beginning. </div>
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<tr><td class="tr-caption" style="text-align: center;">Cloris Leachman & Timothy Bottoms in<br />
The Last Picture Show (1971)</td></tr>
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Cloris Leachman’s vital portrayal of Ruth Popper in The Last Picture Show is delicately balanced and it opened individual intimate secrets of a small town that are often not talked about. Everybody knows about them, they gossip about them behind closed doors, at the church suppers or tea gatherings, but no one takes out their dirty laundry to the rest of the world. Small towns are like that. </div>
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Most of Ruth’s life is lived in her bleak home but things change when Sunny is invited into the bedroom where she transforms into a lovely, elegant woman that can smile for fleeting moments. At least during Sunny’s visits, she forgets her loneliness and her beauty is full of sunshine. </div>
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Inevitably, what’s doomed is doomed and when Sunny does finally abandon Ruth, she returns to her dark depression dressing in clothes that could be described as mourning dresses. Sunny leaves Ruth for Jayce, a girl his age played by Cybill Shepherd. Sunny is just a kid, and when Jayce came along, he behaved as he should. </div>
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Sunny was conned by Jayce into marrying him. They eloped after she convinced him, but he didn’t understand that Jayce only wanted to be in center stage and to be the subject of the talk of the town. While driving to Oklahoma, they were stopped by a trooper and returned to Texas. Thus his marriage to Jayce ended. A few days later, his friend Billy, the simple-minded boy Sunny took care of was run over by a truck and died. </div>
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Hurt, shocked and nowhere else to turn to, he drives for a visit to the long-suffering Ruth. It’s been three months since they’ve seen each other. Ruth is in her bathrobe and is not prepared to see him. She’s angry, yet starts preparing a cup of coffee for Sunny. </div>
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Cloris Leachman pulled all the right stops in her role as Ruth Popper in one of the most memorable scenes in the film. The most pivotal scene takes place in the kitchen and it starts with Ruth’s hand trembling. You can feel something terrible will happen. She throws the cup of coffee against the wall, shattering it to pieces followed by the pot that drips dark coffee grounds on the refrigerator resembling thick black tears of disappointment. In her defense, she has a right to turn against him for rejecting and discarding her. She lashes out at him in a strong, explosive voice:</div>
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<b>"What am I doing apologizin' to you? Why am I always apologizin' to you, ya little bastard? Three months I be apologizing to you, without you even bein' here. I haven't done anything wrong - why can't I quit apologizin'? You're the one oughta be sorry. I wouldn't still be in my bathrobe if it hadn't been for you. I'da had my clothes on hours ago. You're the one made me quit carin' if I got dressed or not. I guess just because your friend got killed you want me to forget what you did and make it all right. I'm not sorry for you. Youd've left Billy, too, just like you left me. I bet you left him plenty nights, whenever Jacy whistled. I wouldn't treat a dog that way. I guess you thought I was so old and ugly you didn't owe me any explanation. You didn't need to be careful of me. There wasn't anythin' I could do about you and her - why should you be careful of me? You didn't love me. Look at me. Can't you even look at me? </b>(Sonny slowly turns and glances at her)<b> Y'see? You shouldn't have come here. I'm around that corner now. You've ruined it and it's lost completely. Just your needing me won't make it come back"</b></div>
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With Sunny’s genuine capacity for love, he’s much more sympathetic to Ruth’s fragile loneliness and in a final friendly reconciliation, he reaches to touch Ruth’s hand that’s resting on the table. No words are spoken, yet deep pain is suffered by both. Sunny is grieving his friend Billy and Ruth her loneliness. Each one needing the human touch. </div>
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Even though Sunny touches Ruth’s hand, it’s a moment that eerily marks the end of their ill-fated friendship setting a distancing effect for the inevitable finish<span style="font-size: x-small;">. </span></div>
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Ruth Popper ends it all while taking Sunny’s hand to her face and saying, “Never you mind, honey, never you mind”.</div>
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For director Peter Bogdonavich, this was an extraordinary cinematic achievement. The film is based on the novel written by Larry McMurtry and each scene was treated carefully so that it captured the alienation, the sense of revolt and the atmosphere of the period. Long takes with a tracking camera encompass the slowness and emptiness of the town and the characters themselves. <span style="font-size: 12px;"> </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Cloris Leachman Academy Award (1972)<br />
Best Supporting Actress - The Last Picture Show</td></tr>
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<b>“Doesn’t that tell you who you are immediately? Ruth Popper… You have to overcome a name like that, or live with it or suffer it if you think about what the kids must have done to her in school… With nicknames, I know what they did with my name in real life.” “It really is amazing how you become your character, it was hard.” - Cloris Leachman</b></div>
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The Last Picture Show remains Peter Bogdanovich’s most accessible and most popular film. Cloris Leachman’s Ruth Popper showed her capacity to carry a scene with strength, naturalness, and bitter beauty. The Academy of Motion Pictures awarded her the Oscar for Best Supporting Actress of 1972. This April 30th marks Mrs. Leachman’s ninetieth birthday. Here’s to Mrs. Leachman and a celebration of her ninety golden years! </div>
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Written By Leticia Alaniz © 2016</div>
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Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com1tag:blogger.com,1999:blog-1235172441912175933.post-12192916870292116942016-03-31T04:54:00.000-05:002016-04-17T11:32:15.924-05:00Arístides Vargas - Feather and The Tempest<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Argentinean Playwright Arístides Vargas</td></tr>
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The dramatic genius of playwright Arístides Vargas has a long history that began in Argentina where he was born. He was raised in Mendoza and studied Theater at Cuyo University. In 1975, when he was only 20, political turmoil during the de facto government or the <i>Revolución Argentina</i>, forced the young playwright to flee his beloved country and seek exile in Ecuador. A violent breach between right-wing and left-wing Peronism led to years of instability which culminated with the coup d’état of 1976. The military government violated many human rights and imposed the “ideological war” doctrine which focused on eliminating the social base and assassinating many students, intellectuals, and labor organizers. This fact marked Vargas’ dramaturgical work. <br />
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<b>- I grew up in a very unconventional way, I was quite defective with two heads and two memories, which placed me in many places. I’m a playwright that writes about life’s traumas. </b> </div>
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<tr><td class="tr-caption" style="text-align: center;">Omar Padilla & Juliana Thompson in<br />
Feather and The Tempest by Arístedes Vargas<br />
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Early in his career, he was admired as the poet of the stage. He has expressed that theater came to him by accident. One day when he was only 15, he went with a friend to a theater workshop. He was fascinated by what he saw and decided right then that theater would be his life. Fully immersed either writing for the stage, acting or directing, he was alerted by a friend that the military was on their way to the theater to arrest intellectuals, which also meant actors and directors. He managed to escape, but many of his friends were arrested. He was left with no other choice than to leave the country. With only five dollars in his pocket, he fled to Ecuador, began to write his Latin-American story and formed a theatrical group called Malayerba. Today, Malayerba is considered one of the most important and representative theater companies in Latin America. </div>
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<tr><td class="tr-caption" style="text-align: center;">Omar Padilla & Jake Bowman in<br />
Feather and The Tempest by Arístides Vargas<br />
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<tr><td class="tr-caption" style="text-align: center;">J.R. Bradford & Karla González in<br />
Feather and The Tempest by Arístides Vargas<br />
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Aristides Vargas writes about lost childhoods, extraordinary situations, and the relationship of people. His theater is contemporary and it voices the reality of current generations. Recurrent themes in his plays are the memory, the need of reconstruction thru memory, the act of exile, migration, and death. His writing reflects a reality that can only be expressed thru theater, setting the stage for the cures of the diseases that plague dictatorial governments that he's all too familiar with. </div>
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In Feather and The Tempest, Vargas touches the hearts of audiences in a poetic and provocative play that reflects on the societies that the youth of today will inherit. It begins with a story of a youth named Feather who was born in a hostile world, growing in the streets like a ship adrift, like a feather in the storm, shaken and agitated by the ever-changing harshness of life. He is marginalized, exposed to all kinds of dangers, forced to sell out, to satisfy hunger without substantiality, to resign, and yet against all storms, choose the self-affirmation and development of their own individuality, struggling to survive and continue, recycling the remnants of the storm. “Feather” offers a critique of the political, religious and educational institutions proposed by our current societies. Feather is also a kind of hermaphrodite, a metaphor for the idealist, the subject hopeful that fails to progress, to express, to belong, or be welcomed by a member of society.</div>
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Feather is an entity on a white canvas, in other words with no real form, yet it forms itself as a person, depending on what</div>
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<tr><td class="tr-caption" style="text-align: center;">Grisel Cambiasso in Feather and The Tempest<br />
by Aristídes Vargas<br />
Photo © Leticia Alaniz</td></tr>
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happens out in the streets of the real world. In a way, we all go thru that, we become what life experiences come at us. Feather speaks of our contemporary times, what we are living now. It's a debacle of corruption, created by a few yet paid for by many. It's a play that speaks to the youth of today about how the political, economic and social horrors influence students. <br />
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<b><i>Students are survivors and they learn how to breathe right in the heart of a tempest..</i></b> (Text from Feather and The Tempest). </div>
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<b>Teatro Dallas presents Aristides Vargas’ Feather and The Tempest</b></div>
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<b>April 8th thru May 1st</b></div>
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<b>Fridays and Saturdays at 8pm</b></div>
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<b>Sundays at 3pm </b></div>
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<b>Directed by Cora Cardona </b></div>
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<b>Starring:</b></div>
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<b>J.R. Bradford, Karla González, Omar Padilla, Ninoshka Martínez, Jake Bowman, Armando Monsivais, Grisel Cambiasso, Izzy Mayfield, Juliana Thompson and Fernando Lara</b></div>
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<b>Tickets & Info:</b></div>
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<b>214-689-6492</b></div>
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<b>www.teatrodallas.org </b><br />
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<tr><td class="tr-caption" style="text-align: center;">Juliana Thompson & Ninoshka Martínez in<br />
Feather and The Tempest by Arístides Vargas<br />
Photo © Leticia Alaniz</td></tr>
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Leticia Alanizhttp://www.blogger.com/profile/01933666392537503485noreply@blogger.com2