|
Crisis in Latin American Arts in the Nations Capital
by Luis Rumbaut
Washington DC came close this summer to losing two of its most important and long-established centers of Latin American arts. It looks like both will survive, but it has been again a warning that arts programsÑeven those that have been operating successfully for yearsÑare not guaranteed their survival. The GALA Hispanic Theater received notice to vacate the premises it had been renting from the Catholic Archdiocese of Washington DC, receiving notice that their lease was going to expire but with an understanding that the Church was going to extend the lease. GALA, the pioneer bilingual theater of the capital, operated in the converted gym of a diocesan school. The Archdiocese, after many years of this arrangement and numerous efforts in the part of the community and of GALA Theatre to communicate, decided to reclaim the space. GALA has been producing Spanish-language and bi-lingual theater for 25 years, bringing guest artists from throughout Latin America and including in its repertoire works of popular music and current social commentary as well as mainstream and classic works. This situation has been devastating for GALA Hispanic Theater, forcing them to look for alternative space in less than 2 months before the start of the 2000-2001 season. For the Latin American community in general, this is a devastating situation, cutting us from a very important source of theatrical and community development. The InSeries was a project of the former Mt. Vernon College in Washington, run by pianist and teacher Carla Hut face="Arial, Helvetica, sans-serif">bner. The College was taken over by George Washington University, which in turn decided to end the association for next season. The InSeries has been known for 18 years for its classical Spanish and Latin American productions, in particular classical zarzuelas, but has also highlighted, for example, tango and bolero, as well as universal works such as the Czech Opera La Serra. LAFI has worked on or supported productions of both institutions. We are glad to hear that most likely they will be able to continue their work in new locales. Washington needs both of them. We are reminded, however, that arts programs face a continual struggle for support and funding. It has been shown that the arts improve the academic performance of children. The arts reaffirm identity and traditions, as well as reflect social change. Few people there are who do not listen to music on the radio and on records, or at concerts, just as few there are who are not entertained at the movies or the theater, or watching broadcast and cable TV. The visual arts improve our surroundings and challenge our conceptions. Art in one form or another is everywhere around us, and yet institutional support for the arts, and artists, is neither sufficient nor constant. The arts are not a regular or substantial part of school curricula, as they should be. Large institutions may receive corporate support, but artists without the presence and connections of the large institutions remain under-funded and unsure of being able to continue their work. Often, it appears that the arts, taken for granted, are seen as the product of a group of people destined to work as volunteers for the benefit of others. ItÕs not that simple. Artists need space to study and practice and perform, materials, access to publicity, and income to cover living expenses. Artists need institutional support and the conscious support of individuals. In return, they will produce the visual and performing arts that enrich our daily lives. This is why we make the call to support and contribute to the revival of organizations such as GALA Hispanic Theatre and the InSeries. They both need our continuous support, financially or in other forms, for institutions that have been milestones in the creation of the cultural shape of the city. This matter, contrary to what many in the mainstream press profess, itÕs not just an issue for the Latin American community in particular, but for all peoples that live and breathe in the city.
|
 |
|
|
|
African Instruments in Cuban Music. Rumbaut, Luis. CLAVE Vol.1 No. 3, September 5, 1998.
A Short History of The Colonial Villancico of New Spain. Oetgen, Susan. CLAVE Vol.2 No.4,November/December, 1999
Baião: A Dance Rhythm from Northern Brazil. An Interview with Leonardo Lucini. Berre, Marietta. CLAVE Vol.I, No.2 June 5, 1998. ©
Bolero. Rumbaut, Luis. CLAVE Oct-Dec. 2002. ©
Cantares: Voices of the Costa Rican People. Morera,Sabino. CLAVE Vol.II No. 2, May/June, 1999. ©
Chamber Music a la Cubana Comes to Washington DC. Rumbaut, Luis. CLAVE Vol.I, No.1 April 5, 1998.
Charango (Latin American Instruments Series). Rumbaut, Luis. CLAVE Vol.II No. 1, March 1, 1999.
Charanga: Then and Now. Grossman, Connie. CLAVE Vol.II No. 3, July-August, 1999. ©
Chucho Valdés at the Levine School of Music. Giménez, Carlos. CLAVE Vol.I No. 3, September 5, 1998.
Clave: The African Roots of Salsa. Washbourne, Christopher. Originally published in Kalinda! (Fall):14, 10-13, 1995. CLAVE Vol.I, No.1 April 5, 1998 ©.
Crisis in Latin American Arts. Rumbaut, Luis. CLAVE Vol.3 No.1, Aug/Sep, 2000.
El Salvador: Music and History Rumbaut,Luis. CLAVE Vol.3 No.2 November/ 2000.
Guateque. The Folkloric Ballet of Puerto Rico. Polen, Danielle. CLAVE Vol.I No. 3, September 5, 1998.
Lázaro Batista. Cuban Poeta and Painter. Tobin, Linette. CLAVE Vol.3, No.1 Aug/Sep,2000.
Livid Legends: A Conversation with Richard Egües. Giménez, Carlos. CLAVE Vol.II No. 3, July-August, 1999. ©
Music and History of Venezuela. Rumbaut,Luis. CLAVE Vol.4 No.1 November/ 2002.
Nostalgic Cuba in Washington DC. Rumbaut, Luis. CLAVE Vol.1, No.2 June1998.
Peruvian Folklore Revisited Berre, Marietta. CLAVE Vol.2 No.4, September, 1999.
Reflections On A Dance Workshop in Santiago de Cuba. Lepore, Jim. CLAVE Vol.2 No.4, September, 1999.
Reviving Vallenato--Gustavo Nieto and Sencación Vallenata. Giménez, Carlos. CLAVE Vol.II No. 1, March 1, 1999. ©
Steel Pans: A Brief History. Berre, Maxens. CLAVE Vol.II No. 1, March 1, 1999.
Tango and Milonga: A close relationship. Mauriño, Gabriela. CLAVE Online June, 2001.
The African Components of the Folk Music of Venezuela– A Conversation with Jesús "Chucho"García
Giménez, Carlos. CLAVE Vol.II No. 3, July-August, 1999. ©
The Batá Drums. Corrales, Mark. CLAVE Vol.1, No.3 Aug/Sep 2000.
The Challenging Art of the Bandoneon.Oetgen, Susan.CLAVE Vol.II No. 2, May/June, 1999.
The Marimba. Tobin, Linnete CLAVE Vol.3 No.2, November 2000.
The Peruvian Cajón Giménez, Carlos. CLAVE Vol.2 No.4, September, 1999.
The Songs to the Gods of Santería.Rumbaut, Luis. CLAVE Vol.3, No.1 Aug/Sep,2000
The Value of an Artist. Giménez, Carlos. CLAVE Vol.2 No. 4, September, 1999.
|
|
|
