Lluvia de Palos Contemporary Mexican Percussion. With Precolumbian Instruments ENTER

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Noah Fletcher
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1 Lluvia de Palos Contemporary Mexican Percussion With Precolumbian Instruments ENTER

2 Lluvia de Palos is a group of contemporary music whose conceptual axis turns around the sound of precolumbian percussion instruments, mainly huehetls and teponaztlis. The group s aim is to make contemporary music out of these ancestral instruments and their sounds. An attempt to make a kind of music whose composition, execution and teaching are part of the knowledge created by the Mesoamerican world view.

3 Director Number of Members 10 (depending on the program of your choice) Scale of Venue Open-air or indoor theaters, museums, forums, and alternative spaces. Minimum stage area: 8 x 5 mts. (26 1/2 x 16 1/2 ft) Technical Requirements 24 channel console, 4 monitors, amplification, microphones and bases (see Input List). All requirements depend on the available space, its dimensions, and acoustic conditions, and if it is an open or a closed space. Tour requirements Transportation for the musicians and for their musical instruments (a cargo van would do); board and lodging for 10 people.

4 P R O G R A M DE MAR A VIENTO 1997 COMALACOTZIN 2010 XOCHIYOAUH 1994 DANZA DE LLUVIA EN EL CREPÚSCULO 1992 Raúl Tudón (1961) Tlalolini 2010 de For 5 percussionist s musicians Percussionist:, Luis Miguel Costero, Ismael Palomares, Manuel Andrade, Samir Pascual, Santiago Mora

5 P R O G R A M TECCIZAPAN 1996 (1961) For 5 percussionist s & flute Tlalolini 2010 For 5 percussionist s INAMIC 1996, Guillermo González (1960) For 3 percussionist s & guitar NEPANOLLI 1994 For 3 percussionist s, electric guitar & bass XOCHIYOAUH 1994 TZINACANOZTOC 1994 For 2 percussionist s, electric guitar bass & sax ESPEJISMO 1991 For 3 percussionist s, electric guitar & bass musicians Percussionist:, Luis Miguel Costero, Ismael Palomares, Manuel Andrade. Guitar: Guillermo González Flute, Piccolo: Guillermo Portillo Contrabass: Sósimo Hernández

6 P R O G R A M TRES PIEZAS IN MEMORIAM L. J Hilda Paredes (1957) For instrumental ensemble XOCHIPILLI 1940 Carlos Chávez ( ) For 6 percussionist s, flute, piccolo, clarinet, piccolo and snail TITOCOTICO 1971 Blas Galindo ( ) For 9 percussionist s DANZA DE LLUVIA EN EL CREPÚSCULO 1994 Raúl Tudón (1961) INAMIC 1996 For 3 percussionist s & guitar TLALOLINI 2010 For 5 percussionist s XOCHIYOAUH 1994 Tocata para instrumentos precolombinos 1972 Jorge Dájer For 6 percussionist s musicians Percussionist:, Luis Miguel Costero, Ismael Palomares, Manuel Andrade, Samir Pascual Vázquez, Santiago Mora, Dante González, Fabiola Sosa y Marco Antonio Peralta Snail: Rosaura Grados Flute, piccolo: Guillermo González Guitar: Guillermo Portillo Clarinet: Luis Mora Saxophone: Natalia Espinosa Flute: Darío Portillo Contrabass: Sósimo Hernández

7 Jose Navarro was born in Mexico City. He made his musical debut as a drummer, and then got a degree in percussion in the Vida y Movimiento Music School of the Ollin Yoliztli Cultural Centre (OYCC, also in Mexico City). He has taken courses and participated in seminaries on musical analysis, contemporary music, film music, theatrical music, electro-acoustic music, and Butoh dance. He is black ribbon (first dan) in aikido from the Aikido Foundation (Tokyo, Japan). He received a Jóvenes Creadores (Young Artists) grant from the Fondo Nacional para la Cultura y las Artes (Mexico s National Fund for Culture and the Arts) to make five pieces for pre-columbian percussion, and other, instruments. He teaches percussion, film music, and dance music, in (respectively) the Escuela de Iniciación de Música y Danza (Music and Dance School for Beginners) of the OYCC, the Centro Universitario de Estudios Cinematográficos (University Centre of Cinematographic Studies) of the Universidad Nacional Autónoma de México (National Autonomous University of Mexico), the Centro de Investigación Coreográfica (Centre for Choreographic Research) and in the Licenciatura en Coreografía (Choreography Course of Study), both of the Instituto Nacional de Bellas Artes (National Institute of Fine Arts). He has been a guest artist in concerts and recording sessions of a number of groups, ensembles and orchestras in Mexico, the United States and several countries of Latin America and Europe.

8 As of 2003 he is part of a Butoh dance project, and has made the music score for several dance, and film productions, including four feature films. He is a founding member of Banda Elástica, a group that, created 25 years ago, has recorded six albums so far and has made concert tours in the main cities, and the best theatres, of Mexico, as well as of Norway, Peru, Spain and the United States.

9 Lluvia de Palos Contemporary Mexican Percussion With Precolumbian Instruments The conceptual axis turns around the sound of pre-columbian percussion instruments, mainly huehetls and teponaztlis, but including also scrapers, turtle rattles, baked clay pots, stones, sartales (sea shell strings, fruit seed strings, and other kind of strings), and some kinds of baked clay flutes and ocarinas. The group s aim is to make contemporary music out of these ancestral instruments and their sounds. An attempt to make a kind of music whose composition, execution and teaching are part of the knowledge created by the Mesoamerican world view. The group thinks of the utmost importance to approach the rites, as well as the rhythmic, numerical and cyclical universe of the Mesoamerican world, not just as a way to understand a little better the pre-columbian musical thought, but to put into context the use of those musical instruments and of the music itself. The music of the group is created out of these principles, and any creative decision within the group is made having in mind those numbers, cycles and gears, as well as the use of themes such as duality, the water of shells, the Flowery War, a whirlwind or a bat cave.

10 An essential part of the musical concept that resulted in these pieces is the active participation of every member of the group, not only in the composition, but mostly in the execution of the music. So every member must have the utmost creative freedom, and the improvisation born out of this freedom is a paramount musical value. Improvisation is to create from a deep and personal singularity, but always having in sight the lineaments of the musical proposal, since only these can give conceptual unity and coherence.

11 Contact tel (5255) Ocotepec Lote 10 Manzana 74, Col. San Jerónimo Aculco, C.P , México D.F. Xochiyoauh Fragmento (fragmento) Danza de Lluvia en el Crepúsculo (fragmento) Comalacotzin (fragmento)

Degree: Fine and Performing Arts Award Type: A.A. Degree

2014-2015 Degree: Fine and Performing Arts Award Type: A.A. Degree The Fine and Performing Arts curriculum offers instruction in theory, practice and history. These three areas of study provide the foundation