Arenas Dance Company
DANCE ORIGIN: Cuba
GENRE: Afro-Cuban Folkloric
ARTISTIC DIRECTOR: Susana Arenas Pedroso
First Appearance in SF EDF: 2006
Susana Arenas Pedroso founded Arenas Dance Company in 2004 to preserve and promote culturally-rooted, ever-evolving Cuban folkloric and popular dance traditions while embracing creative innovation and hybridity. The company has performed at the Great American Music Hall, Palace of Fine Arts, Yerba Buena Center for the Arts, Herbst Theater, Chico State University, Laney College, Stanford University, ODC, La Peña, Ashkenaz, Black Choreographers Festival, CubaCaribe, SF Salsa/Rueda, Yemanja, Stanford Jazz Festival, and in the San Francisco Ethnic Dance Festival.
TITLE: Manos de Mujeres a la Obra (Women’s Hands at Work)
CHOREOGRAPHER: Susana Arenas Pedroso
EGUN AND RUMBA COSTUME DESIGN: Deborah Valoma
OCHÚN COSTUME DESIGN
: Ileana Godinez
YEMANYÁ COSTUME DESIGN: Regina Tolbert
DANCERS: Diana Aburto, Stella Adelman, Antinette Jackson, Tiffani Jarnigan, Luz Mena, Susana Arenas Pedroso, Jessica Maria Recinos, Juliana Romano, Tammy Ryan, Regina Tolbert, Mitzi Ulloa, Deborah Valoma, Heidi Weiskel, Lyndsey Williams, Tola Williams
DRUMMERS: Carolyn Brandy, Michaelle Goerlitz, Jules Hilson, Mena Ramos, Elizabeth Sayre
VOCALISTS: Christelle Durandy, Karen Smith, Regina Wells, Natasha Wild
In Manos de Mujeres a la Obra—Women’s Hands at Work—an all-female Afro-Cuban ensemble honors the spiritual resilience, strength of character, and vibrant sensuality of Afro-Cuban women, and celebrates the sacred nature of their work. The women are sensual and playful. They are clever and wise. They call out their womanhood one by one in the languages of their motherliness. They are mothers, daughters, grandmothers. And above all, they are strong women, holding life in their hands.
The opening invocation draws from Santería, the Cuban religion based on Yoruba traditions carried west by enslaved West Africans generations ago. A call and response between lead singer and dancers dressed in sacred white invites in the ancestors, the egun. Three orishas—deities—descend, manifestations of spiritual strengths of women. Ochún, orisha of sweet waters, wears yellow. She bestows radiance and pleasure in the body at play and of the hands at work. Yemanyá, orisha of blue oceans, embodies the fierceness of motherlove. Oyá, the rainbow-hued warrior of winds and cemeteries, proclaims fortitude in times of transition.
The women reappear dancing yambú, the oldest known rumba, a slow and sensual display of mature, knowing women. Dancers wear styles from 1950s Havana tenements; their retro Hawaiian prints are a nod to problematic colonial narratives of exoticism and Hollywood visions of undifferentiated island otherness: (Think Elvis singing a calypso in Blue Hawaii). The dance accelerates to guaguancó, the rapid-fire rumba typically danced between
couples. The dancers wash and clean, creating polyrhythmic patterns with brooms. They invest their mundane housework with joy and, citing signature orisha movements, celebrate work as spiritual practice.
Rumba, danced to the secular conga and clave rhythms, was born in late-1800s Havana and Matanzas from Bantú, Abakuá, and Spanish musical strains. The art form was added to UNESCO’s list of Intangible Cultural Heritage in 2016, and it is the improvisational expression of Cubans, especially Afro-Cubans. Director Susana Arenas Pedroso calls it “the attitude of the people.” In contrast, the batá drum trio and rezos (prayers) are descendants of Yoruba traditions. Batá drums salute the egun and recount sacred narratives, evoking the spiritual presence of orishas. Although a growing number of women have crossed gender boundaries since the 1980s, it is still unusual to see women playing batá drums and rumba.
TITLE: Oya: The Female Warrior/Oya: La Mujer Guerrera
CHOREOGRAPHER/ARTISTIC DIRECTOR: Susana Arenas Pedroso
MUSICAL DIRECTOR: Colin Douglas
COSTUME DESIGN: Adriene-Amadìs Harrison
SOLOIST: Susana Arenas Pedroso
DANCERS: Stella Adelman, Carmen Aguirre, Isabel Estrada Jaminson, Jasmine Holsten, Monica McDuffie, Christina Navarro, Cynthia Renta, Kristin Sague, Morgan Simon, Mitzi Ulloa
MUSICIANS: Colin Douglas (bata), Vanessa Lindberg (singer - coro), Matt Lucas (bata), Michelle Martin (singer - coro), Andy Ryan (bata), Carol Steel (singer - akpon)
At the confluence of the Caribbean Sea, the Gulf of Mexico, and the
Atlantic Ocean, lies the relaxed yet spirited subtropical island of
Cuba, the largest island in the Caribbean. Cuba’s culture is a mix of
African, Spanish, and indigenous traditions that blended together to
produce unique forms of language, religion, music, and dance.
slave trade brought many Africans to Cuba, and while they belonged to
various ethnic groups, a majority were Yoruba, from the region now
called Nigeria. The traditions so vital to Yoruba life were carried on
and mixed with Spanish and native influences on the island, resulting in
an Afro-Cuban religious practice known as Lucumi, derived from Yoruba's
traditional religion Ifa. Lucumi, meaning “my friend,” became known as
Santería (way of the saints), which was the term originally used by the
Spanish colonizers to mock the African’s seemingly exaggerated worship
of saints. During Lucumi ceremonies, the dances, songs, and rhythms
honor spiritual deities known as orishas,
which represent different natural phenomena. In order to maintain their
own beliefs in the new context of Spanish-ruled Cuba, devotees
disguised their faith in the form of Catholicism, often linking their orishas to
specific Catholic saints. Thus, their original traditions were
transformed into something unique and new. By the late 1950’s, the music
and dance associated with these traditions became recognized as a
national treasure and promoted internationally as Afro-Cuban folkloric
dance, with national dance troupes and schools re-interpreting,
re-choreographing, and adapting the rituals to modern stages.
Arenas Dance Company presents a new staging of Oya: the Female Warrior, based on the orisha Oya, who is identified with wind, lightning, rainbows, fire, tornadoes, hurricanes, and the marketplace. Oya is a warrior, whose strength is said to be equal to or greater than that of a man’s in battle. She is often referred to as the one who "puts on pants to go to war," rides into combat on a horse, and is associated with change and righteous anger. She is connected with the nine tributaries of the Niger River, and she is synchronized with the Catholic saint, St. Teresa, and Our Lady of Candelaria.
Oya’s costume, a multi-colored skirt, represents the colors of the rainbow. The dancers hold irukes, or horsetails, to whip up the air, creating the energy of storms. The swirling movement of the skirts and undulations of the torso also reflect her connection to whirlwinds and tornadoes.
OF PIECE: Las Dos Aguas-The Two
CHOREOGRAPHER: Susana Arenas
COSTUME DESIGN: Adriene-Amadìs Harrison, SOLOIST
COSTUME DESIGN: Lourdes Almaguer
NARRATOR: Lisa Frias SOLOISTS:
Yemaya: Susana Arenas Pedroso, Oshun: Isabel
DANCERS: Oshun: Carmen Aguirre, Jasmine Holsten, Traci Stovel, Mitzi Ulloa, Tammy
Yemaya: Cora Barnes, Tanicia Bell, Adriene-Amadìs Harrison, Rufina Jones,
Minh Ņguyễn, Parousha Zand
MUSICIANS: Jesus Diaz, Colin Douglas, Mathew Lucas,
Michael Spiro, Coro: Vanessa Lindberg, Morgan Simon, Carol
In the 2006 Festival, Arenas Dance Company presents Las Dos Aguas – The Two Waters, which depicts characteristics
qualities of two strong female orishas
of water. Yemaya represents maternity, the salty water of the
ocean, and she is
associated with the colors blue and white and the Catholic Virgin
of the Rule
(Virgin de la Regla). Oshun, depicted in yellow and gold, symbolizes
joy, the sweet water of the river, and is linked to Cuba’s patron saint,
Virgin of Charity (Virgin de la Caridad del Cobre). Everything in life
with water; as the river runs into the ocean, salty and sweet mix, mother
daughter intertwine; maternity and love weave in and out of each other.
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