#victoria santa cruz

[caribbeanart]

Santa Cruz understood the importance of being able to see oneself in their culture and the value of identity. Through her work, she was not only able to disavow the way that Blackness was seen, but she redefined Blackness. She refused to accept the position that Peru and the broader American society continuously forced Black individuals into and, by writing and producing plays, allowed others to reject those roles. [x]

[abwwia]

Victoria Santa Cruz, Me Gritaron Negra in Ayacucho, Peru, 1978. Photo by Peter Bysted. Courtesy of the Odin Teatret Archives.

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

Victoria Santa Cruz would go on to be called "the mother of Afro Peruvian dance and theatre." Along with her brother, Nicomedes Santa Cruz, she is credited as significant in a revival of Afro-Peruvian culture in the 1960s and 1970s. They both came from a long-line of artists and intellectuals. For her part she is said to have had "Afrocentrism" influences in her view of dance trying to discover "ancestral memory" of African forms. She helped to found the Cumanana company. Via Wikipedia

[halfabird]

Victoria Santa Cruz (1922-2014)

[citedesdames]

View this post on Instagram

A post shared by LATINA (@latina)

[dragoneyes618]

Ernesto de la Cruz, as evident by his immediate and complete acceptance of Miguel as his great-great-grandson, had quite a few girlfriends when he was alive.

It did not start only once he gained fame and fortune on the body of his best friend, though. Even back in Santa Cecilia, he was quite the ladies' man.

As was only to be expected, one young woman - the only child of doting parents who had had her late in life - approached him soon after their affair had ended with the news that she was carrying his child, and that they had to marry to spare her honor.

Of course, Ernesto refused. He had big plans, and couldn't be tied down by a wife and child. (He could never understand why it didn't seem to bother Héctor.) Maybe he was nice about it and gave her some money. Maybe he just laughed at her. The end result was the same: the young woman - Victoria, her name was - left alone and with child.

So, what did she do? She dared not admit what she had done even to her parents, who, as their only child born when they had nearly given up hope, would have forgiven her anything. Instead, she told them she was going to visit a distant relative in Mexico City, and instead went to the orphanage the next town over.

It's not like this had never been done before. She would live there for the next few months, helping out with the children, the cleaning, the cooking, the sewing - all the work that came along with a few sisters raising three dozen children as well as they could - and, once she gave birth, she would leave her child there, and go home like nothing had happened.

In due time, she gave birth to twins, a boy and a girl.

She named the boy Julio, because she'd always liked that name.

She named the girl Rosa, after her mother. Her mother was still alive, but she knew her children would never be able to meet her parents, that they would never even know her, and she wanted them to at least have this.

On their birth certificates, she wrote down their full names, giving them her own surname, and she wrote her name, as well as the name of their father. The name meant nothing to anyone outside Santa Cecilia then, but she wrote it anyway, because it was true. Just in case Ernesto changed his mind. (He wouldn't.)

Then she went back home and went on with her life, gently spurning all offers of courtship, unable to leave behind the images of the wailing babies she'd left in that orphanages.

About five years later, she grew ill - with influenza, pneumonia, it doesn't matter. She grew ill, and worsened, and died, and left her grieving parents to bury their daughter.

Before she died, she confessed to her parents and the priest administering the last rites that she had borne twin children out of wedlock, and had left them in an orphanage in a town close by.

She died, and her parents buried her, and grieved.

Then they traveled to the orphanage and told them that their grandchildren were here, and they had come to claim them.

Things were very lax back then. They didn't need proof, didn't need any documents. All they had to say was who they were, their daughter's name, and the names she had told them she had given her children, and the people running the orphanage said "That sounds right, nice to meet you, here they are."

Little Julio and Rosa were shy and uncertain at first, but their newfound grandparents were kind to them, and raised them just as if they had been their own children. They gave them both individualized attention, which had been hard to come by in the orphanage. They told them stories and taught them new things and comforted them when they had nightmares and told them about their mother.

To differentiate young Rosa from her namesake, they called her Rosita, and the name stuck, even after the first Rosa was long in the Land of the Dead.

As they grew older, Rosita helped her grandmother around the house, while Julio helped his grandfather - his name was Alberto - in the small upholstery shop he had that supported their little family.

Then one day, Julio met a young woman named Coco in the plaza, and his life changed.

Julio's grandparents were overjoyed to see him in love, to see him settle down and be happy. Elderly, they died only a short while after the wedding, and Coco helped Julio through his grief. None of the Riveras wanted Rosita to be alone, so she was invited to move in with them and join the workshop, and she happily accepted.

Neither of them ever knew the identity of their father. They had no reason to. They never had cause to look at their birth certificates. They'd never known him, and he hadn't wanted to know them. They had their grandparents, and that was all they'd ever needed. They felt like they were missing nothing.

The years passed, and Rosita and then Julio died. More years passed, and Miguel got cursed.

In the year following, Miguel suddenly developed an extensive interest in family history and would spend hours going through old papers. Héctor's letters proved that he had written the songs, but having more than just the letters, the importance of them unknown until now, would help. Maybe a journal, maybe more letters, something.

Miguel wanted to find out as much as he could about Héctor, too, to ensure that the true Héctor Rivera would never be forgotten.

Also, he was worried that maybe the family had somehow forgotten someone else, and wanted to make sure they knew of everybody.

The Riveras lived in the same house that Imelda and Héctor had scrambled to put together money for all those years ago, adding on rooms as the family grew. If not for that, many of the crucial papers - Héctor's letters first and foremost - may have been scattered in different households across Santa Cecilia, or even destroyed entirely, their importance unknown. Having only one house to search makes it much easier. Not easy, but easier.

Miguel finds Héctor and Imelda's marriage certificate, and Coco's baptism certificate, and her and Julio's wedding certificate (the one documenting the union of Elena López Rivera and Franco Rivera Rojas is in a drawer in their bedroom, and so is Luisa and Enrique's, and Carmen and Berto have theirs pinned to the wall), and birth and death and baptism and communion certificates for all the older, deceased generation of Riveras, the ones who have no need of any of them anymore.

And he finds a birth certificate for Papá Julio, and another for Tía Rosita, naming them as twins, born illegitimately to Victoria López Hernández and Ernesto de la Cruz.

To say Miguel has an identity crisis is an understatement.

He was devastated when he thought he was the descendant of a murderer, and overjoyed to find he was Héctor's descendant instead. All of his love and admiration for de la Cruz has curdled into hatred, the love passed on to his great-great-grandfather, the musical genius and, more importantly, the loving father.

Now he finds out that not only is he the great-great-grandson of Ernesto de la Cruz after all, but he's descended from both of them - one great-great-grandfather killed his other one.

He begins to worry that he's going to be like Ernesto. What if he, one day, lies and steals for music? He's already lied to his family and stolen a guitar for music. What if one day he kills for music? How can he be sure that his musical talent is inherited from Héctor and not Ernesto? Because he doesn't want anything of Ernesto's, not anymore.

Elena takes personal offense to finding out that she's the granddaughter of the good-for-nothing musician who probably (nothing has been proven, it's too long ago for that, but it's all very suspicious) murdered her other good-for-nothing grandfather (said in completely different tones of voice; Elena is the only one allowed to insult Héctor, you see).

The Riveras were abruptly plunged into national scrutiny after Héctor's letters were published; the media has a field day with the news that most of them are descended from Ernesto.

Miguel writes a long letter - multiple long letters - about his feelings about all this, and leave it on the ofrenda at the next Day of the Dead, along with the offending birth certificates. Actually, with all the papers belonging to the dead Riveras, in case they want them. But Julio's and Rosita's birth certificates are at the top.

So the dead Riveras get home after the holiday is over, and they go through all the things Miguel left them, and Héctor reads the letters Miguel wrote to him.

Now Julio (and Rosita, to a lesser extent, but she's not the one who married the child of the man her father murdered) has a bit of an identity crisis.

His father caused his wife (and her mother) so much pain. How is he supposed to live (well, not live, but you know what I mean) with that? His father killed her father.

He and Coco have a lot of long talks about this.

Coco doesn't blame him or his sister, of course; neither does the rest of the family. The only change comes in the way Julio thinks the rest of the family is now thinking about him. He was always more on the timid side; it takes literal years before he stops calling Héctor Señor Rivera. Now he's sure that Imelda and Héctor hold his father's crimes against him. It takes a surprisingly gentle talk from his in-laws to get him to surpass that.

"So, ah..." Héctor hesitates afterwards, not having felt this awkward since his first few weeks with the family. "You remember, the trial and everything, I testified, I'm the "principal victim" and all that...I could probably arrange for you to visit him, if you wanted...."

Julio and Rosita look at each other, and shake their heads in unison. "No," they say at once.

"No," Julio says again. "I don't. We don't." He squeezes his sister's hand of bones in one hand, his wife's in the other.

Oscar stirs. "Hey, so....Ernesto's blessing would've worked with Miguel after all."

Felipe, of all people, hushes him. "Not now, hermano."

Victoria takes up Héctor's offer to arrange a visit with de la Cruz, though.

"What?" she asks, daring anyone to question her. "He's my grandfather too."

Any suspicion of sentimentality is immediately discarded when Victoria walks into the visiting room, boot already at the ready, hits him once, and walks right back out again.

[mirrorofliterature]

I have another coco canon divergence idea that I've been mulling on recently

it's victoria being pulled into a mystery, but this time whilst she's alive.

so essentially the plot is:

- Victoria wants to upskill her designing skills for shoemaking as her abuela is now in her mid-60s and should be retiring, but won't. Also, fashion has evolved since the 1920s.

- So she (in her early-mid 20s) decides to upskill by going to a technical school in Mexico City for shoemaking/design, that kind of thing. I want to research this to make it accurate, if I was to go full blown on this.

- Anyway. It's a year course and her family by now has the money necessary to send her (again, need to check the realities of this kind of technical training in 1960s Mexico) and she has an apartment in Mexico City.

- This technical school happens to also offer music courses.

- She shares her apartment with fellow students, one who happens to be a music student

- Unlike Elena, who absolutely virulently loathes music, Victoria has always struck me as someone who is, at best, apathetic towards music, so she's fine with musicians, she just doesn't listen to music out of respect to her abuela and mama.

- So she's fine with the music student

- Also there's a lesbian subplot because yes. With who? Idk.

- ANYWAY so this music student has this side hobby via Ernesto de la Cruz and is trying to get information on his early career and is trying to figure out who his early touring partner was.

- Which is her new roommate's dead abuelo, but they both have no idea.

- Anyway, Victoria is like: 'oh, my name is Victoria Rivera [Julio's last name] and I'm from Santa Cecilia'

- the MS (music student): 'oh cool anyone in your family know ernesto de la cruz?'

- victoria: 'no my abuela hates music and ernesto.'

- MS: 'hm. anyway did you say your maternal last name was rivera because crazy thing, there's this obscure travelling partner ernesto had known only as 'h rivera'. heard of him'?

- victoria, curiosity piqued: 'sure I'll ask'

- Victoria asks her tios about this not her abuela or mama she's not cruel. Her tios reluctantly admit that yes, her abuela's husband did travel with and disappear on a tour with ernesto de la Cruz in 1921 and yes, they were childhood best friends

- music student, upon learning this: interesting

anyway it then divulges into this mystery where they puzzle out that héctor was the real musician (writer) this whole time and that he kind of died in late 1921 and isn't it like. highly suspicious that ernesto went on to use héctor's songs as his own + without telling his family that he was, y'know, dead???

victoria has an identity crisis and kisses a pretty lady.

Imelda and coco are eventually told and coco is like. fuck me that's tragic but it makes a shitload more sense then héctor just ditching us and an embittered imelda is like. yeah. wish ernesto was still around so I could murder him but I'll settle for suing his estate for plagiarism :).

when imelda dies, she's already had héctor's picture up for a few years (because #regret and #love of my life) but doesn't expect anything from it because y'know héctor has been dead decades and probably moved on by now and it's all her fault for assuming the worst.

and it's not like sunshine and rainbows when héctor and imelda reunite but it's a whole lot better than canon and héctor is like: it was very strange 1) having people recognise that I wrote ernesto's songs and 2) learning that he murdered me thanks to the granddaughter I didn't know I had??? also I love you but like. very hurt that you thought the worst of me for so long.

and imelda is like: that's fair and they heal and shit.

and maybe thanks to imelda's lawsuit money, victoria gets proper treatment for her cancer and lives a long gay life.

okay. that was a lot more words than expected. sleeping now.

[lboogie1906]

Victoria Santa Cruz (Victoria Eugenia Santa Cruz Gamarra) (October 27, 1922 - August 30, 2014) is considered the mother of Afro-Peruvian dance. Born in Lima, Peru, she was the eighth of ten children. Her father was Nicomedes Santa Cruz Aparicio, and her mother, was Victoria Gamarra Ramirez.

She acquired a basic understanding of theater and dance from her parents. Her father was exposed to Shakespearean plays and European classical music. She took an early interest in these teachings, co-founding and directing the first Black-owned theater in Peru with her brother. She used this opportunity to produce three plays, most of which showcased the daily racial conflict of Afro-Latinas. Her first notable play, Malató, was released and explored the relationship between enslaved people and their oppressors.

She began studying theater and choreography at the Université du Théâtre des Nations and École Supérieur des Études Chorégraphiques in Paris. She received recognition for her unique, Afro-Peruvian-styled costumes. She graduated and visited Africa that year. She staged the ballet La muñeca Negra, which acted as a reclamation for lost cultural memories due to slavery. One of her most significant accomplishments did not occur in Africa, or even her native country, but in Mexico City during the 1968 Olympics.

Teatro y Danzas Negras del Perú was offered the prestigious award of performing at the Olympics after only two years of formation. These performances re-energized Afro-Peruvian dance forms such as the zamacueca and Landu and introduced them to the rest of the world.

She developed her first song. She performed one of the most impactful poems of her time, Me gritaron negra. She was chosen as the founding director of the National Folklore Ensemble. She was a professor of drama at Carnegie Mellon University.

Peru’s Ministry of Culture launched the Victoria Santa Cruz Centennial with programs and activities. The Fulbright Commission in Peru launched the Victoria Santa Cruz Fulbright Grant to Afro-Peruvians pursuing graduate study in the US. #africanhistory365 #africanexcellence

[gonzalo-obes]

IMAGENES Y DATOS INTERESANTES DEL 14 DE SEPTIEMBRE DE 2024

Día Mundial de los Primeros Auxilios, Día del Bienestar en el Caribe, Día Mundial de la Dermatitis Atópica, Día Mundial de la Arepa, Día Internacional de la Observación de la Luna, Semana Europea del Cáncer de Pulmón, Semana del Bienestar en las Américas, Año Internacional de los Camélidos.

Exaltación de la Santa Cruz y Santa Cruz.

Tal día como hoy en el año 2005

Sucede una cadena de atentados en Bagdad (Irak), causando 154 muertos y más de 500 heridos, en su mayor parte chiíes. Siendo reivindicados por la banda terrorista Al Qaeda.

1984

Por primera vez se cruza el océano Atlántico en un globo de gas, realizado en solitario por el aviador estadounidense Joe Kittinger.

1954

Un bombardero soviético Tu-4 libera una bomba atómica de 40 kilotones que estalla a 350 metros de altura, sobre el polígono de Tótskoye (unos 1050 km al este de Moscú). Quedando expuestas a la contaminación radiactiva más de 45.000 personas.

1867

En Hamburgo (Alemania), se publica el primer tomo de la obra de teoría económica y social de Karl Marx, "El Capital. Crítica a la economía política". (Hace 157 años)

1854

Una fuerza francobritánica desembarca en Crimea, con el fin de iniciar en octubre el asedio de Sebastópol. El 25 de octubre de este año, en el transcurso de la batalla de Balaclava, un suburbio de la ciudad, tendrá lugar a llamada Carga de la Brigada ligera británica que concluirá desastrosamente. (Hace 170 años)

1847

El avance de las fuerzas estadounidenses del general Winfield Scott, con una serie ininterrumpida de victorias, culmina este día con la toma de Ciudad de México, donde los mexicanos verán ondear la bandera enemiga sobre el Palacio Nacional durante 9 meses. Las consecuencias de la guerra serán desastrosas. Para terminar con la ocupación, México se verá obligado a firmar el "Tratado de Guadalupe Hidalgo", mediante el cual perderá Nuevo México, la Alta California, Texas y la parte del territorio entre los ríos Nueces y Bravo. Recibirá a cambio quince millones de pesos. El país verá reducido su territorio a poco menos de la mitad. Pero a cambio, la guerra hará que los mexicanos sientan por primera vez la necesidad de estar unidos. (Hace 177 años)

1829

Se firma el "Tratado de Andrinópolis", mediante el cual las grandes potencias logran detener la marcha victoriosa de las tropas rusas sobre la ciudad de Constantinopla. El imperio otomano reconoce a cambio la independencia política de los griegos. (Hace 195 años)

1822

Se produce un punto de inflexión en la egiptología cuando Jean-Francois Champollion logra leer el nombre de Ramsés en la piedra Rosetta. Corriendo va a comunicárselo a su hermano que trabaja en el Instituto de Francia. Jean-Francois entra completamente exaltado en su despacho y le grita: "¡Lo tengo!" Acto seguido, se desmaya. La emoción y el trabajo han sido tan intensos que tardará varios días en recuperarse. (Hace 202 años)

1812

Las tropas napoleónicas llegan a las puertas de Moscú (Rusia) después de tres meses de marcha en los que han tomado varias ciudades y librado varias batallas; pero los moscovitas se han refugiado en los bosques cercanos y prendido fuego a la ciudad por lo que, sin alimentos y soportando temperaturas extremadamente bajas, el ejército francés se verá obligado a retirarse sin haber logrado su objetivo de doblegar al Zar Alejandro I. Únicamente 58.000 efectivos del ejército napoleónico, poco más del 20% del total, sobrevivirán a la campaña rusa. (Hace 212 años)

1519

El Rey de Castilla Carlos I (Emperador Carlos V) establece una Real Cédula, dada en Barcelona, mediante la que se incorporan los territorios conquistados de América a la corona de Castilla. (Hace 505 años)

1509

Un fuerte terremoto destruye por completo uno de los barrios más poblados de Constantinopla (Turquía), matando a más de 13.000 personas y agravando la decadencia en que se halla sumida la antigua capital bizantina. Se establecerá un impuesto especial para sufragar los trabajos de reconstrucción y se construirán más casas de madera. (Hace 515 años)

81

En Roma, y tras la muerte ayer de su hermano el emperador Tito, Domiciano es proclamado emperador por el senado y las guarniciones militares. Tratará de hacer frente a la corrupción y a la crisis agraria. Se enfrentará a los dacios, a los germanos y los sármatas. En septiembre de 96 sera asesinado en una conspiración palaciega en la que su esposa Domicia estará implicada. (Hace 1943 años)

[cosmicanger]

Victoria Santa Cruz (Peru 1922-2014 Peru)

Still from Me gritaron negra (They shouted black at me), 1978

Documentation of performance, excerpted from the documentary Victoria--Black and Woman, 1978. Director: Torgeir Wethal; producer: Odin Teatret Film Video. Video, black and white, sound; 3:58 min. OTA-Odin Teatret Archives

[caribbeanart]

I have known about Victoria Santa Cruz's work about as far back as secondary school but this is truly the most thorough and comprehensive article I've read on her work that does a great job of situating her in a broader, cross-cultural context; or in other words the "why" her work matters beyond borders.

Some powerful quotes that struck me:

"In a 2007 interview, Santa Cruz described how as a little girl, she had been playing with a group of friends when a new girl with blond hair joined them and stated that if Santa Cruz remained, she would leave. Her friends promptly told Santa Cruz to leave, which to her, exemplified who held power and who had the right to wield that power."

The author does a great job building context with this line:

"In the 1960s and 1970s, Black activists in the United States, like Santa Cruz in Peru and Paris, redefined and recreated what it meant to be Black. Black with a capital 'B' is about self-naming, self-defining, and self-determining, which can be seen in the work of Santa Cruz. It is, at times, biographical, exhibiting the arduous process she has endured to form an identity that isn’t controlled or concerned with outdated stereotypes and instead honors a rich heritage inherited and a [sense of self] not founded in shame."

Victoria Santa Cruz is originally from Perú, not the Caribbean, but as I touched on in a previous post, sharing this work is a part of a broader personal initiative to expand the narrative when talking about Latin America and the Caribbean and its diáspora.

[goalhofer]

2024 olympics Dominican Republic roster

Athletics

Robert King (Santo Domingo)

Erick Sánchez (Azua De Compostela)

José González (Santo Domingo)

Alexander Ogando (San Juan De La Maguana)

Yeral Nuñez (La Romana)

Milagros Durán (San Pedro De Macorís)

Franchina Martínez (Santo Domingo)

Marileidy Paulino (Don Gregorio)

Anabel Medina (Santo Domingo)

Boxing

Junior Alcántara (Salvaleón De Higüey)

Cristian Pinales (La Romana)

María Moronta (Santo Domingo)

Diving

Frandiel Gómez (San Felipe De Puerto Plata)

José Ruvalcaba (León De Los Aldama, Mexico)

Victoria Garza (Saltillo, Mexico)

Equestrian

Yvonne Losos (Santo Domingo)

Gymnastics

Audreys Nin (Santa Cruz De Barahona)

Judo

Robert Florentino (San Juan De La Maguana)

Moira Morillo (Santo Domingo)

Shooting

Eduardo Lorenzo (Santiago De Los Caballeros)

Soccer

Josué Báez (Santo Domingo)

Ángel Montes (San Juan De La Maguana)

Enrique Bösl (Kösching, Germany)

Nelson Lemaire (Schaarbeek, Belgium)

Thomas Jungbauer (Jarabacoa)

Xavier Valdez (Faribault, Minnesota)

Francisco Reyes (Santiago De Los Caballeros)

Edgar Pujol (Sabadell, Spain)

Luiyi De Lucas (Galván)

Heinz Mörschel (Frankfurt, Germany)

Óscar Ureña (Figueres, Spain)

Rafael Núñez (Madrid, Spain)

Edison Azcona (Boca Raton, Florida)

Peter González (Madrid, Spain)

Joao Urbáez (Móstoles, Spain)

José De La Cruz (Rubí, Spain)

Fabian Messina (Stuttgart, Germany)

José De León (Madrid, Spain)

Nowend Lorenzo (Santo Domingo)

Swimming

Javier Núñez (Santo Domingo)

Elizabeth Jiménez (Santo Domingo)

Taekwondo

Bernardo Pié (Bayaguana)

Madelyn Rodríguez (Santiago De Los Caballeros)

Volleyball

Alondra Tapia (La Vega)

Geraldine González (Santo Domingo)

Madeline Guillén (Santo Domingo)

Cándida Arias (Santo Domingo)

Brenda Castillo (Santo Domingo)

Ariana Rodríguez (Miami, Florida)

Niverka Marte (Santo Domingo)

Yonkaira Peña (Santo Domingo)

Bethania De La Cruz (Santo Domingo)

Brayelin Martínez (Santo Domingo)

Jineiry Martínez (Santo Domingo)

Gaila González (Santo Domingo)

Weightlifting

Beatriz Pirón (San Pedro De Macorís)

Yudelina Mejía (Santo Domingo)

Crismery Santana (San Pedro De Macorís)

Wrestling

Luis Pérez (Santo Domingo)

[joseandrestabarnia]

Dionisio (alrededor de 1440 - mencionado en 1503) CRUCIFIJO 1500 Tamaño - 85x52 Material - madera Técnica - temple al huevo Número de inventario - Inv.29554 Recibido del Museo Vologda. 1934

La Catedral de la Trinidad del Monasterio Pavlo-Obnorsky fue fundada en 1414 en las tierras de Vologda a orillas del río Nuroma por un discípulo de San Sergio de Radonezh, San Pablo de Obnorsk. La iglesia del monasterio de madera fue reemplazada por una de piedra en 1505-1516, a instancias del Gran Duque Vasily III de Moscú. El iconostasio de la Catedral de la Trinidad se creó unos años antes del inicio de la construcción, en 1500.

Del iconostasio original de la Catedral de la Trinidad, solo nos han llegado cuatro íconos antiguos: la imagen central ya mencionada del nivel de Deesis, dos días festivos: "La Crucifixión" y "Garantía de Tomás" (Museo Estatal Ruso) - y uno icono de la fila local - "Asunción de la Madre de Dios" (museo Vologda). El icono de Dionisio reproduce en términos generales el esquema iconográfico, muy difundido en el arte bizantino y ruso del siglo XIV - principios del XV. A los lados de la Cruz del Gólgota con el Salvador crucificado, hay dos grupos de los que vienen, encabezados por la Madre de Dios y Juan el Teólogo. Detrás de la Madre de Dios hay un grupo de santas mujeres, y detrás de Juan el Teólogo está el centurión romano Longino, señalando a Cristo. La composición se desarrolla contra el telón de fondo del Muro de Jerusalén.

La apelación a muestras anteriores determinó las características distintivas de la nueva iconografía, incluida la pose del mismo Salvador. La figura de Cristo en Dionisio parece estar completamente ingrávida, desprovista de gravedad material, no clavada en la cruz, sino como si flotara con los brazos extendidos. Esta impresión se logra principalmente a través de un ligero cambio en las proporciones.

Otra característica del icono es la representación alegórica de la Iglesia del Antiguo Testamento que parte y la Iglesia del Nuevo Testamento que se acerca en forma de pequeñas medias figuras femeninas acompañadas de ángeles. Se suponía que su presencia reflejaba una de las disposiciones clave de la doctrina cristiana, según la cual la nueva Iglesia fue fundada sobre la sangre del Cordero del Nuevo Testamento - Cristo, y por lo tanto es en el momento del sacrificio de la cruz que el cambio de iglesias, se produce el cambio de Testamentos.

En La Crucifixión de Dionisio, la expresión emocional externa da paso a la contemplación reverente en oración, revelando el significado espiritual interno del evento: la redención, la reconciliación de lo terrenal con lo celestial y la evidencia de la próxima resurrección y la victoria sobre la muerte, abriendo el camino. a la vida eterna. El estado de paz e iluminación se expresa claramente en las figuras y rostros de los venideros.

El ocre claro parece “disolver” la figura de Cristo en el resplandor del fondo dorado, enfatizando la espiritualidad, la deificación de la carne, como la escritura fina y fundida, llena de pequeños trazos difíciles de distinguir. El Salvador aparece como ya revestido de la gloria celestial, de la cual se hacen partícipes los que han de venir. Debido a las proporciones alargadas y el patrón fraccionado de ropa ligeramente ondeante, sus figuras parecen ingrávidas e incorpóreas y parecen elevarse, deslizándose por los suaves y brillantes glaciares, mientras que los colores fríos, brillantes e inusualmente refinados de la ropa recuerdan visiblemente los colores brillantes. del mundo de la montaña.

Información e imagen de la web de la Galería Tretyakov.

[rinconliterario]

“Aullido” Allen Ginsberg

III

¡Carl Solomon! Estoy contigo en Rockland                Donde estás más loco de lo que yo estoy Estoy contigo en Rockland                Donde te debes sentir muy extraño Estoy contigo en Rockland                Donde imitas la sombra de mi madre Estoy contigo en Rockland                Donde has asesinado a tus doce secretarias Estoy contigo en Rockland                Donde te ríes de este humor invisible Estoy contigo en Rockland                Donde somos grandes escritores en la misma horrorosa máquina de escribir Estoy contigo en Rockland                Donde tu condición se ha vuelto seria y es reportada por la radio Estoy contigo en Rockland                Donde las facultades de la calavera no admiten más los gusanos de los sentidos Estoy contigo en Rockland                Donde bebes el té de los pechos de las solteras de Utica Estoy contigo en Rockland                Donde te burlas de los cuerpos de tus enfermeras las arpías del Bronx Estoy contigo en Rockland                Donde gritas en una camisa de fuerza que estás perdiendo el juego del verdadero            ping pong del abismo Estoy contigo en Rockland                Donde golpeas el piano catatónico el alma es inocente e inmortal jamás debería            morir sin dios en una casa de locos armada Estoy contigo en Rockland                Donde cincuenta shocks más no te devolverán nunca tu alma a su cuerpo de su            peregrinaje a una cruz en el vacío Estoy contigo en Rockland                Donde acusas a tus doctores de locura y planeas la revolución socialista hebrea            contra el Gólgota nacional fascista Estoy contigo en Rockland                Donde abres los cielos de Long Island y resucitas a tu Jesús humano y viviente de la            tumba sobrehumana Estoy contigo en Rockland                Donde hay veinticinco mil camaradas locos juntos cantando las estrofas finales de            La Internacional Estoy contigo en Rockland                Donde abrazamos y besamos a los Estados Unidos bajo nuestras sábanas los            Estados Unidos que tosen toda la noche y no nos dejan dormir

Estoy contigo en Rockland            Donde despertamos electrificados del coma por el rugir de los aeroplanos de            nuestras propias almas sobre el tejado ellos han venido para lanzar bombas            angelicales el hospital se ilumina a sí mismo  colapsan muros imaginarios  Oh            escuálidas legiones corren afuera  Oh estrellado shock de compasión la guerra            eterna está aquí  Oh victoria olvida tu ropa interior somos libres Estoy contigo en Rockland                En mis sueños caminas goteando por un viaje a través del mar sobre las carreteras a            través de América llorando hasta la puerta de mi cabaña en la noche del oeste

San Francisco, 1955-1956

Nota A Pie De Página Para “Aullido”

¡Santo! ¡Santo! ¡Santo! ¡Santo! ¡Santo! ¡Santo! ¡Santo! ¡Santo! ¡Santo! ¡Santo! ¡Santo! ¡Santo! ¡Santo! ¡Santo! ¡Santo! ¡El mundo es santo! ¡El alma es santa! ¡La piel es santa! ¡La nariz es santa! ¡La lengua y la verga y la mano y el agujero del culo son santos! ¡Todo es santo! ¡todos son santos! ¡todos los lugares son santos! ¡todo día está en la eternidad! ¡Todo hombre es un ángel! ¡El vago es tan santo como el serafín! ¡el demente es tan santo como tú mi alma eres santa! ¡La máquina de escribir es santa el poema es santo la voz es santa los oyentes son santos el éxtasis es santo! ¡Santo Peter santo Allen santo Solomon santo Lucien santo Kerouac santo Huncke santo Burroughs santo Cassady santos los desconocidos locos y sufrientes mendigos santos los horribles ángeles humanos! ¡Santa mi madre en la casa de locos! ¡Santas las vergas de los abuelos de Kansas!

¡Santo el gimiente saxofón! ¡Santo el apocalipsis del bop! ¡Santas las bandas de jazz marihuana hipsters paz peyote pipas y baterías! ¡Santa las soledades de los rascacielos y pavimentos! ¡Santas las cafeterías llenas con los millones! ¡Santos los misteriosos ríos de lágrimas bajo las calles! ¡Santo el argonauta solitario! ¡Santo el vasto cordero de la clase media! ¡Santos los pastores locos de la rebelión! ¡Quien goza Los Ángeles es Los Ángeles! ¡Santa New York santa San Francisco santa Peoria & Seattle santa París santa Tánger santa Moscú santa Estambul! ¡Santo el tiempo en la eternidad santa eternidad en el tiempo santos los relojes en el espacio la cuarta dimensión santa la quinta Internacional santo el ángel en Moloch! ¡Santo el mar santo el desierto santa la vía férrea santa la locomotora santas las visiones santas las alucinaciones santos los milagros santo el globo ocular santo el abismo! ¡Santo perdón! ¡compasión! ¡caridad! ¡fe! ¡Santos! ¡Nosotros! ¡cuerpos! ¡sufriendo! ¡magnanimidad! ¡Santa la sobrenatural extra brillante inteligente bondad del alma!

[beatriz-garrido]

¡Buenas noches, cumbres deliciosas! 💛💛💛💛💛💛💛💛💛💛💛💛💛💛💛💛

¡BUENAS NOCHES, CUMBRES DELICIOSAS!

💛💛💛💛💛💛💛💛💛💛💛💛💛💛💛💛

💛💛💛💛💛💛💛💛💛💛💛💛💛💛💛💛

“E hizo Josué como le dijo Moisés, peleando con Amalec; y Moisés, Aarón y Hur subieron a la cumbre del collado”.

“Y descendió el SEÑOR sobre el monte de Sinaí, sobre la cumbre del monte; y llamó el SEÑOR a Moisés a la cumbre del monte, y Moisés subió”.

“Y el parecer de la gloria del SEÑOR era como un fuego abrasador en la cumbre del monte, a los ojos de los hijos de Israel”.

                                 Santa Biblia 💛💛💛

“El caballero permaneció en la cima, respirando profundamente y le sobrevino una sobrecogedora sensación de bienestar. Se sintió mareado por el encantamiento de ver, oír y sentir el universo que le rodeaba. Antes, el temor a lo desconocido había entumecido sus sentidos, pero ahora podía experimentar todo con una claridad sorprendente. La calidez del sol del atardecer, la melodía de la suave brisa de la montaña y la belleza de las formas y los colores de la naturaleza que pintaban el paisaje causaron un placer indescriptible al caballero. Su corazón rebosaba de amor. "El Caballero de la armadura oxidada" (1989), Robert Fisher.

¿Alguna vez te has encontrado intentando navegar hacia una circunstancia difícil, con un inmenso viento en contra de tus velas?... O... ¿has intentado obedecer a Dios recibiendo el viento en todo el rostro, como si Dios mismo te lo estuviera enviando?...

Así nos sentimos, a veces, a lo largo de la vida y de modo especial, cuando por la razón que sea, nos encontramos llenos de incertidumbre e incógnitas. Cuando un año o un período o cualquier fase de nuestras vidas  termina, nos sentimos como un peregrino que llegando a la cumbre del monte, a través de hojas caídas y copos de nieve, sólo se encuentra, en una primera mirada, con la cumbre del monte y el cielo.

La Biblia habla en muchos ocasiones de los montes y cosas que sucedieron en ellos:

   • Moisés tuvo que ascender hasta la cumbre del Sinaí, para poder encontrarse con Dios y ver directamente su Gloria, tanto que al bajar su propio rostro brillaba indescriptiblemente.

   • Cuando iba a morir, un anciano centenario, otra vez Moisés, sube – sin fatigarse – hasta la cumbre del Pisga; pero cuando llega, Dios le ofrece una espléndida visión de la tierra prometida.

   • Elías tuvo que subir a la cumbre del monte Carmelo, para allí, ganar una inmensa victoria sobre los profetas de Baal.

   • Balaam tuvo que subir a la cumbre de Peor para que fueran abiertos sus ojos y fuese lleno del Espíritu del Señor y, después de una visión impresionante, bendecir de modo espléndido al pueblo de Dios.

   • Abraham tuvo que subir a la cumbre del monte Moriah, para allí, en obediencia a Dios, encontrar al substituto de Isaac para el sacrificio.

   • Jesucristo, el mismísimo hijo de Dios, tuvo que cargar la cruz hasta la cumbre del monte Calvario para allí, ser crucificado y así entregar su vida para dárnosla a nosotros.

Escribe el salmista en el llamado “Salmo del viajero”, el precioso salmo 121:

“Alzaré mis ojos a los montes ¿de dónde vendrá mi socorro? Mi socorro viene del Señor, que hizo los cielos y la tierra.”

¡Sí, tú y yo tal vez nos encontremos hoy en la cumbre de……  Lo que sea, con un tiempo más cargando “el saco de nuestras vidas”, de experiencias buenas y malas, de circunstancias, en su mayoría difíciles... Y nos sentimos – tal vez – agotados de la empinada subida, de sentir el viento en contra muchas veces y parece que podemos  decir: “Nada queda por delante sino la cumbre y el cielo”; pero cuando llegamos justo a la cumbre... ¡¡Qué maravilla!!… De repente nuestros ojos se abren y comienzan a ver de otra manera y...

   • En la cumbre encontramos la mismísima y preciosa gloria de Dios.

   • En la cumbre podemos vislumbrar la tierra prometida.

   • En la cumbre podemos recordar batallas inmensas ganadas sólo con la ayuda de Dios.

   • En la cumbre nuestros ojos son abiertos para ver lo que nos estaba velado en la subida y nuestra boca se llena de palabras de bendición.

   • En la cumbre podemos encontrar “nuestro corderito” balando suavemente entre los matorrales.

   • En la cumbre podemos contemplar, una vez más, la bendita cruz de Cristo y postrarnos a su pie con lágrimas de arrepentimiento y adoración.

Sí... hoy estamos en la cumbre, mañana tendremos que volver a caminar, y yo no sé que piensas tú, no sé si te atenaza el miedo, no sé si – quizá – ya te has cansado de caminar, o te entren ganas – incluso – de retroceder.

Déjame hablarte... bueno no... escribirte... bueno... mejor... realmente decirte algo desde mi corazón al tuyo:

Hace ya muchos años que comencé a subir y bajar montes al lado de mi Señor, en ocasiones no ha sido fácil, a veces el viento casi me tira; pero una y otra vez, al llegar a la cumbre, me he sentido tranquila y segura; porque un y otro año he vuelto a agarrarme con fuerza de aquel que murió por mi en la cumbre del monte Calvario, y – vez tras vez – he podido oir:

“Él nos guiará, aún más allá de la muerte.”💛💛💛

Dime:

¿¿No te gustaría tener en tu vida a ese mismo Dios??...

Hoy, que estás en la cumbre, levanta tus ojos y mira... ¡¡Te está esperando con sus brazos llenos de amor!!

Y cuando en mi tierra es de noche... recuerdo las preciosas palabras de Charles Spurgeon:

“La oración debe ser la llave del día y el cerrojo de la noche.“ 💛💛💛

En el precioso amor de Cristo...

                        Beatriz Garrido Saco 💛💛💛💛💛💛

[akkoeln]

La Lupe, Mercedita Valdés, Victoria Santa Cruz, Lágrima Ríos - Kennst Du diese Namen? Diese großartigen Sängerinnen sind ein wichtiger Teil der Geschichte der lateinamerikanischen und afro-diasporischen Musik. Danielle Almeida präsentiert uns eine Auswahl ihrer Originalwerke, ihre Biografien und die Bedeutung, die ihre Stimmen und Leben nicht nur für die Musik, sondern auch für den Kampf gegen Rassismus und für das Leben der Frauen hatte.

Danielle Almeida ist Sängerin und Artivistin und forscht zur afro-diasporischen Präsenz in Lateinamerika. Sie lädt Euch zu einem informellen Boombox-Abend ein und dazu, miteinander ins Gespräch zu kommen. Es wird eine Übersetzung ins Deutsche geben.