el Carmen, "hatajo de negritos," and more Peru trip

(diary from day 9 of my trip - Dec. 13, 2014)

Am now in the little town of el Carmen, in the southern coastal area of Peru.  To get here, you take a bus to Chincha and then a taxi from Chincha to el Carmen.  It´s important to take a secure taxi...many of the taxis here are not secure, so you need to get the name of a taxi before you start your trip.

Many of the houses have murals.  This is of a violinist who lead one of the hatajos.

El Carmen is a predominantly Afro-Peruvian town in which they carry on a centuries old tradition called the "hatajo de negritos."  The "hatajos" are groups of dancers - all men except for one which is exclusively women - who perform special dances on the occasion of Christmas, the celebration of the Virgin of Carmen, and 12th Night.

I am staying in a beautiful "hotel" - a big, airy house with 2 acres of grounds planted in avocado trees, fruit, bananas, etc..  The proprietor is Edith Maldonado, a woman instrumental in seeing to the production of the first documentary about the "hatajos." She also co-founded one of the town's cultural organizations.  This was back in 2007.  A newer, excellent, one was filmed in 2012 by the Peruvian Ministry of Culture.

Veranda at back of the house/hotel, with Edith Maldonado.

Since there are already two documentaries about the "hatajos," I filmed only a tiny portion of one of the rehearsals.  It is really wonderful stuff, and a fascinating story.

People here are loath to sign documents, an important consideration for me since I need release forms signed.  And drama, drama!  One of the places I was to film cancelled their rehearsal in part because, after I set up my camera, I explained I´d need a signature.  But I got plenty enough footage in the other place to use for what I´m working on.

Margarita Cordoba (in whose home we filmed) with her nephew, leader of one of the hatajos.  In the background you see an altar to baby Jesus and the Virgin of Carmen.

Another small drama:  I was told the place where I´m staying could accept payment by debit-credit card.  On arriving, I discovered this is not correct.  El Carmen does not have a bank, so later today, I´ll go in a tiny, overcrowded van into Chincha to search for an ATM machine and hope a) it will give me the money I need and b) it won´t eat my card.

Kids getting ready for practice in the house of the Ballumbrisios.

Tomorrow afternoon, I leave el Carmen to go to San Luis de Cañete (which I just discovered is a different place from Cañete...good that I found out because I was planning to go to Cañete) where I´ll hopefully hook up with Lalo Izquierdo, visit his cultural association, and film him giving children a lesson in cajón.

Then, back to Lima.

Lalo Izquierdo - interview and cajón session

Yesterday (Dec 8, 2014) we filmed an interview and cajón demonstration with Lalo Izquierdo in the patio of the apartment where I'm staying in Lima, Peru. "We" means me and a camera operator/all around assistant. He will remain nameless because the quality of his work was kind of mediocre.

On the whole, things went fine and I think I know how to fix a few of the little problems that cropped up with the image. But life is full of little bumps in the road, right?

Lalo Izquierdo (right) and me.  A bit of a contrast, right?

Our first bump came when Lalo couldn't find the apartment. Lima is a big city, and when I say I'm staying in Lima, I really mean I'm staying in greater Lima, in the Lima metropolitan area.

My particular section is called Miraflores, and the apartment is on a short street named la Libertad. I called Lalo on his cell phone 15 minutes after he was due, and found out he was wandering around, looking for the street. I passed the phone over to the camera operator who explained to Lalo how to get here. Twenty minutes later, I got a call from Lalo...he was still wandering around.  Lost.

The upper half of "my" short street, la Libertad.

In the end I had to send the camera operator out to find him and guide him over here.

Next problem: I was short one camera battery. (We were filming with three of my cameras, using two different formats). That was solved when we found an electrical outlet close enough for one of the cameras to use.

Starting to set up.

After overcoming several other little problems, we obtained a fairly decent image and good sound for two separate interviews (one for each format) and two separate cajón demonstrations, plus shots of Lalo and me walking down the street. 

What we missed, which is important, is a second interview to be conducted in Sucro with an elderly woman (wife of a deceased Afro-Peruvian percussionist great, Ronaldo Campos). With the problems of Lalo getting lost and the time it took to film everything in Miraflores, she had gone out.

Lalo on set with the cajón.

We'll catch her another day.

And the problems with the camera operator? He doesn't know how to zoom, and the only idea he has of filming an interview is to point the camera towards the people to be filmed and punch the "record" button. 

SIGH!

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We are working on making a few revisions in our documentary film, A Zest for Life: Afro-Peruvian Rhythms, a Source of Latin Jazz, and shooting a trailer for a new, more comprehensive work about Afro-Peruvian music and the Afro-Peruvian community.

P.S.  Thanks to María del Carment López Quispe for help with some of my makeup.

Finding Jenny Vincent

To make some improvements on my documentary about Spanish immigrants,"Weaving with Spanish Threads," I decided to add some music. One piece I wanted was a traditional Spanish song that the immigrants would have listened to and played after they moved to California. I found just what I wanted on a music album arranged and produced by Jenny Vincent and performed by her trio, music she found in a collection created back in the 1930s.

In tracking down the rights, I found Jenny Vincent herself. Jenny Vincent is an activist and musician, and in bygone days, played with the likes of Pete Seeger and Woody Guthrie.  She is now 101, lives in New Mexico, and still jams with her musician friends every week.  They come to the nursing home where she lives.  
On the CD with the music I wanted, she plays the accordion but now, at age 101, that instrument is too heavy for her so she plays the piano.  

Jenny Vincent came from a privileged background.  As a young woman, she played classical piano. but after she became an adult, she found her passion in the workers' rights movement, and turned to playing folk songs on the accordion.  She spent her life as an activist and is still deeply committed to the rights of the powerless.

Craig Smith, a writer and musician, and one of the people who gets together with her each week, has written a biography of her called Sing My Whole Life Long:  Jenny Vincent's Life in Folk Music and Activism.  You might want to look it up.

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We've used some of Jenny Vincent's music in our documentary, Weaving with Spanish Threads:  an Immigrant's Tale, and in the trailer (HERE) for that documentary.  Or if you want to listen to one of the jam sessions, go HERE and HERE.

Mexico´s indigenous civilizations - the Maya: Uxmal, personal recollections (part 2 of 2)

The Maya, like the Aztecs after them, constructed pyramids and ball courts, as well as monumental palaces.  They held the serpent as being especially sacred.  They also engaged in human sacrifice,  although not on as large a scale as the Aztecs.

The palace and ballcourt at Uxmal with me on a hill above it.

The Maya had a complete, written language which has only very, very recently been deciphered.  They also produced a lot of chocolate...perhaps something you don't consider important but to many of us, well, chocolate is a really good thing!

Around the same time that the Maya flourished, on their southwestern borders, contact with the smaller civilizations of Olmec, Mixtec and Zapotec influenced Mayan culture.

I was lucky enough to visit the city of Uxmal when I was around 11 years old.  My mother and uncle took me on a trip to Mexico (financed by my generous grandfather).  My mother, who loved traveling, decided we should go to Yucatán.

The pyramid at Uxmal.

My mother didn´t like going to the places that "everyone" went, so instead of going to the much better know Chichen Itza, we visited Uxmal.  At that time, my father was teaching at Tulane University, and Tulane has been very prominent in the archaeological work related to the Maya.  I´m not sure if that is why we were able to go there, but at any rate, I got to climb the pyramid.  I also learned, when at the top, that an archaeologist had died the week before right about where I was standing.  He feel from the top of the temple.

I climbed down more slowly than I climbed up.  I climbed down very, very carefully.

We also got to see a cenote, one of those mysterious bodies of water than come up from underground, and where sacrifices of young maidens are supposed to have taken place.

We even got to swim in the cenote.

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Eve A. Ma and Palomino Productions are currently working on a documentary about Mexican immigrants and Chicanos which deals briefly with the Zapotec, Mixtec, Aztec and other of Mexico´s indigenous civilizations.  Find out about this by signing up for our newsletter LINK.

Mexico´s indigenous civilizations - the Maya (part 1 of 2)

Along with the Aztec, the Maya is the best known of Mexico's ancient civilizations.  There were others as well - Olmec, Mixtec, Zapotec and so forth - but the Aztecs in central Mexico and the Maya on the Yucatán peninsula and further south, through what is now Guatemala, are generally considered the country´s two great antecedents.

Mayan civilization seems to have been mostly a collection of city states joined by a common language, cultural heritage, and artistic aestnetic.  The Maya flourished for much longer than the Aztecs, and covered a wider territory.  The civilization began, flourished and declined centuries before the Aztecs started to rise to power.  It was at its peak between 250 BC and 900 AD, but there are Mayan settlements in Belize that date back to 2600 BC, and their calendar begins on the equivalent in our years of 3114 BC.

Mayan ruins in Guatemala.  I think this is Tikal.  My mother took the photo, so I´m not sure.

During this long historical period, there were ups and downs.  For example, around 100 BC, the civilization as it existed at that time underwent a great downturn which some characterize as a collapse, only to revive and surpass its former glory in the 250 BC - 900 AD period.

The civilization went into an even steeper decline around 900 AD.  No one is exactly sure why, but one theory that recent investigations point up to is that a prolonged drought was exacerbated by declining rainfall due to building over former forest and crop lands.

(We might want to draw a lesson from this, ourselves....)

One way or another, after about 950 BC, most of the southern part of the Maya civilization ceased to exist for all practical purposes, and many cities were simply abandoned.  In the north, on the Yucatan peninsula, Maya cities continued to flourish including the ones at Chichen Itza and Uxmal.

From the same ruins as above, probably Tikal.

In 1450 AD, however, there was a revolt against the most powerful and extensive of the Mayan kingdoms rule that was enough to extinguish it and throw others into decline.  Some Maya cities and towns continued in existence in reduced form until the Spanish conquest.

It took the Spaniards nearly 200 years to complete the conquest of the Maya, however, the last city state falling in 1697.

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Eve A. Ma and Palomino Productions are currently working on a documentary about Mexican immigrants and Chicanos which deals briefly with the Zapotec, Mixtec, Aztec and other of Mexico´s indigenous civilizations.  Find out about this by signing up for our newsletter LINK.

Cotton, hot sun, and "gitanos" in southern Spain - HISTORICAL NOTES (part 2 of 2)

HISTORICAL NOTES:
For centuries, gitanos have been on the margins of Spanish society and economy.  But when they began to work in large numbers as farm laborers in southern Spain, all of a sudden they becamse desirable contributors, at least as far as the señoritos and their families, the large land owners, were concerned.  These large land-holding families helped protect the gitanos.

This happened mostly in Andalucía, a large region in the far south of Spain which includes eight provinces.  Because of its mild to hot climate and large farming estates,  it´s also home to large numbers of gitanos. The large farm holdings, a reminder of the Roman estates and the later Moorish period, have grown crops such as grapes and olives for many centuries.  The grapes are best in the lower land, and are used to produce some very fine wines.  The olives are more common on the hillsides and going up into the mountains.

Ripe cotton.

Cotton, and beans such as favas and garbanzos, were also planted extensively in the 20th century although they were not as important as the grapes and olives.

In the late 20th century, mechanization eliminated many of the farm working jobs.  By that time, the democratic government which succeeded Franco had set up a social safety net, so gitanos and other poor or marginalized people could live on their social security benefits when they didn´t have a job.

The singing that our little heroine was listening to in part 1, by the way, is what is called flamenco.  Had you already guessed?

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We are working on a documentary about flamenco and its connection to the gitano community.  Go HERE to see the web site and a trailer, and HERE to sign up for our newsletter so you can keep up with the progress on our work.