Catalogo emari09. vol4

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Catalogo emari09. vol 4

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  • 85

  • 86, 87. AIZAROTZ. 19-06-09Ofrenda musical con los trontzalaris de la Ultzama

    89.LARRAINTZAR. 20-06-09Mahai ingurua mitologiari buruz, conferencia sobre mitologacon la participacin de Nestor Basterretxea, Iosu Nabern yRamon Urtasun.

    emari 09 JARDUERAK 50 I 51

    90.ANOTZIBAR. 20-06-09Aquelarre-festa

    88.ANOTZIBAR. 20-06-09Aquelarre-festa

  • emari 09 JARDUERAK

    91.GUELBENZU, 9-8-09Homenaje a Federico Garca Lorca

    93.BEUNZA, 14-8-09Jose Luis Pastor kantautorea.

    94.LANTZ, 28-8-09Maider Irazabal eta Izaskun Yaben,Coro San Fermin Abesbatza.

    92.JAUSARATS, 16-8-09.Trio Zulet

  • emari 09 52 I 53 ACTIVIDADES

    ARRAITZ. 21-08-09.

    BIORITMO

    Proiektuaren izena nahuatl hizkuntzan dago. Nahuatl-a kolonaurreko hizkuntza bat da, aztekena eta Mexikoantzinako zenbait herrirena, oraindik bizirik dagoena.Hauxe da esanahia: Coatlicue Mari da.Coatlicue eta Mari, biak ala biak, lurraren jainkosakdira, baina inguru besderdinetan. Ez zaigu askorikinporta izena desberdina izatea. Beste zerbaitek dugarrantzia: bi kulturetan, sustrai desberdinak izanagatik,gizon-emakumeek lurra gurtzeko premia eta jakinduriaizan zuten. Zer gertatuko zen kristautasunaren aurretikEspainiak eta Mexikok elkar ezagutu izan balute?Segur aski, Marik eta Coatlicuek antzekoak izanenzituzten ezaugarri mitologiko franko.

    Roberto Canales (Xilem) y Roberto Montiel (Ben Kan).Bioritmo es un colectivo visual mexicano que utiliza latecnologa para mostrar la grandeza de la naturaleza.

    ProyectoCoatlicue ca Mari. El nombre del proyectoest en nahuatl, antigua lengua precolombina quean se usa y que hablaban los aztecas y diversospueblos antiguos de Mxico. Tanto a Coatlicue, comoa Mari se les atribuye el ser diosas de la tierra, soloque en diferentes contextos. Para nosotros los nombresno son lo ms importante, como lo es as que losantepasados de dos culturas con races distintas,compartieron la necesidad y sabidura del rendir cultoa la tierra. Qu hubiera pasado si antes delcristianismo, Espaa y Mxico se hubieran conocido?Seguramente Mari compartira muchas caractersticasmitolgicas con Coatlicue.

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  • emari 09

    Fiesta fn de Emari09 con deporte rural,cantos y dantzas tpicas.Emariren bukaeraren festa herrikirolekin, kantuak eta dantzak.99.IRAIZOTZ, 30-8-09

    98.LARRAINTZAR.Emari taldea:Karmentxu Garcs, AntonioGritn, Puri Etxeberria, Arantxa Izurdiaga,Periko Zunzarren, Sandra Iraizoz y KoldoAgarraberes.

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    JARDUERAK

  • emari 09 54 I 55EMARI PROYECT

    Introduction: Emari project was being developed throughout the first half of 2009. Because of this we were meeting every week orfortnightly developing what we have called the Emari team and whose work has been complicated yet enriching. In this team we trieddifferent voices and personalities to be present: the artists, the socio cultural entertainers, municipal representatives and entities orpeople which represented the popular and cultural feeling of this field. It was not about choosing a piece of work that could show in thecity and then move into the Ultzamas area. We wanted that the showing was supported by something connected with the rusticcommunities from here, for example, mythology. We proposed that the artists worked with Maris idea, Mother Nature. Meaning thateverything what was done was like an offering for this goddess, so in a way we were trying to return the look of the artists toward thetraditional rustic communities.With this catalogue we ended this first ritual, this is the way we have set out yet we dont know the new experiences that it will bring tous in the future.Virginia Domeo: As far as I am concern, halfway between to be an urban person and to be a person in the rustic environment whatI like to do is a representation-tribute-handing over-celebration-offering (to Mari)-request and symbiosis between what I live in the cityand my relationship with the countryside. The rustic earth is where I was born and come back to every once in a while for my own necessityof contact with the nature and because of what the countryside gives to me. I take the idea of the flat prayer that Buddhists use, whichhas a direct relation with the nature and spiritual life. I take the plastic of the pennants which celebrates the party in whatever town ofour earth, culture and civilization. I take the dance, (Zinta Dantza) which builds and celebrates with humour and music, it entrusts toher roots, her climate, her people and her divinities.Carolina Martin: Fears and dreams: By the comprehension of the common states, fears, needs, dreams, and the coexistence in therustic way of living we can understand the beliefs, rituals, and laws that make up the cultural identity of a town. How does it developwith Maris concepts? Its from this idyllic character that city human being confers with nature where I find the connection with Mari,like a place of comfort and protection. I have chosen the stone like constructive element as an offering. The fears and needs shape theform of a red circle; the perfection of the circle moves us closer to divinity.Chiara pignotti:, Offering for mother earth: At the beginning, before what we called history, there was only a goddess, the creative maternalbeing. Everywhere goddess images relating with mother earth, were founded. Its important to focus your attention and work on this greatprimary mother, as a spiritual launch, as we approach again the goddess love that nourishes and protect us, and because of this youhave to be grateful. In the Emari project the people that I encounter have a similar understanding and rhythm to the life which enrichesand inspires me to carry on working in this way. All that I can do is to be grateful for the offerings of Mari. I got inspiration from Mari tolive this fantastic experience by the beauty of the landscapes of Navarra and the magic of the Mexican mountains where I learnt thepre Hispanic smelting technique.Amaia Conde: My project is based on the idea of the similarities between the human beings cycle and nature, and the possibility of aharmonious and balanced relation between both of them. An offering and a joining place with nature will be created by producing acromlech in which four engraved totems in four oak trunks, (the predominant wood in that area) will be positioned in a circle and whereeach one represents a cycle. The circle will be completed by little menhir trunks. It represents the four cycles of the earth, (spring, summer,autumn, winter), as well as the four cardinal points, (East, South, West, North) or the basic elements of the nature,(water, air, fire, earth).And also it represents the outer cycle in mans life (to be born, grow up, reproduce, and die) and her inner cycle (disillusionment of theworld, emptiness and solitude, to be reborn, to open to the totally).Nerea de Diego, **amaria**: I am especially interested in buildings which are made with ephemeral materials because of the fragilitythat it evokes. I like everything regarding the popular, spontaneous and humble expressions: casual accumulation of objects, popularaltars all of this imagery that in one way or another condenses peoples interests.The virgin is one of the women that is most representedin the current world. It probably exists stronger in the collective imaginary than Monna Lisa or Marilyn. Something atavistic must be inthat mariana worship which sends us to the animism of material cultures, the earth as a great mother goddess; the beginning.Siete Puertas, Yesterday, today and tomorrow, is an intervention, it is the tree of knowledge, it is the implosion of the acquaintances,and it is the past generations, the present and the future ones. It is to fit, it is a format, it is contention and also explosion, it is the lane,it is a way, it is evolution, it is bidirectional, it is multidirectional, it is a metaphor, and it is an illusion. What shapes us into who we arecan been seen as an entanglement which is based on connections. It is a sort of disorder, chaos where everything comes together tidily.It is a net of chaotic connections, tidiness, cerebral, it is human being, and at the same time the earth which supports it, because ofthat the entanglement hangs up and it is suspended, the ground, the earth is the base, but always the entanglement elevates above,majestically. It is a complete cycle, the beginning and the end, fed by the roots of the trees which support it.

  • emari 09

    Collective Biorhythm (Mexico): Coatlicue ca Mari. Both Coatlicue and Mari are supposed to be goddesses of the earth, but existonly in different contexts. Names are not the most important thing for us like it was with the ancestors of two cultures with differentroots yet the shared necessity and wisdom of earth worshiping. What would have happened before if Christianise Spain and Mexicowould have met? Surely Mari would have lots of mythological characteristics in common with Coatlicue.Unai Otegi, Ephemeral, art and society: According to the dictionary, ephemeral is something that lasts briefly, that is to say, itdisappears or finishes from one day to the next. As far as my three artistic experiences are concerned in the EMARI 09 programmeI am not interested in this durability quality but in the fact that ephemeral can be understood as something that in its nature involvesdisappearing, to exhaust or endthat is to say: to die.Music must be ephemeral quintessence because it doesnt even last one day. Its fleeting, it only lasts the instant in which it happensand the only trace that it leaves can be a sensation or maybe an association with some idea or feeling. In this way, the oven wasas well an ephemeral piece of art and even though ephemeral was not the reason why I chose to make it in the first place, as it wasmore to do with the link between the tree piece of works. It is because of the concerts and the