Oyu Oro

Thursday July 31, 2009 Ian and I found ourselves on the 7 train, getting off at Shea Stadium and getting on the shuttle bus to the Queens Theatre in the Park which is located in the Flushing Meadows Corona Park. If you ever watched Will Smith's Men in Black, you know which park I'm exactly talking about. Another reference for you- at one point the World's Fair was held at this location.

Oyu Oro Afro-Cuban Dance Ensemble had the great honor of kicking off the Chase Latino Cultural Festival. I wish it had done the honor justice and it breaks my heart to admit it.

I am by far not an amazing dancer but can be quite the critic in analyzing dance and choreography. When I state my opinions on subject matters like dance, art and food, it is based on personal experience and tons and tons of research. It is what I do and what I've done for years now. Because I didn't start my dancing early enough in life, I've never been a "WOW" dancer so instead I took to choreography.

Okay time to get down and dirty on this show. Let me start of by saying that I had been looking forward to this show for weeks ahead of time. I've been taking afro-cuban classes with Noibis Licea at Peridance Center for a couple of months now and have developed a friendship with him. We're currently working on a couple of projects that perhaps I will share later on a different post.

I may get into some uncomfortable situations later on considering the fact that I know the choreographer "La Mora" but that was not a well put together show. After I got past the live music, the bright and colorful costumes and the fact that I was finally there, i saw many flaws and soooo much potential for whoever is worthy of taking up the daunting challenge.

The dancers were not in unison, the music was wayyyyy tooo loud and the choreography became monotonous. The quality of movement was also off. With Afro-Cuban your knees are bent, your back is curved forward and you're at a middle level-- ALMOST NEVER standing straight up. The reason for this is because the movements are representative of those that worked the sugar and coffee plantations. They were all about working and getting through the day. As a side note, this are general characteristics, it can change depending on which Orisha deities it is representative of.

The first part of the show showcased the traditional afro-cuban repertoire derived from Yoruba and Dahomeyan cultures of West Africa. The Orichas that were represented are Eleggua, Ochún, Yemaya, Oya, Arara, Bicheb/Yagueto. The small description on some of the Orichas below should give you all an idea about what the dance movement and quality is based on.

Eleggua was the first piece. He opens and closes the doors for all. You will find many childlike, mischievous behavior characteristics in his dance movements. Eleggua will always open and close all ceremonies and his colors are red and black or sometimes white and black-- depending on who you ask.


Ochún is my favorite of the Orichas that I mostly connect to. Her colors are yellow and gold which often times represents sweetness like the honey that is often offered to her during ceremonies. She is the queen of the rivers, lakes, waterfalls and rain. She represents love, beauty and fertility.


Yemaya reigns over the oceans, seas and lakes. She's the goddess of maternity. She is known to be the mother of most Orichas. SHe is motherly and strongly protective. her colors are blue and white like water




Oya is the goddess of the Winds of Change. Lightning, fertility fire and magic is associated to her. She is the guard of the underworld and easily creates tornadoes and hurricanes. Her colors are 9 different ones but never black.

The second part of the show was a special treat to me. The stage transformed into the festive and joyful medley of what Cuba is on a good day, in the cultural community. It included a dance with cutaras which Ian really enjoyed. The best description that I'm able to give is borrowed from the program.




"Cutaras- A dance of the percussive voices of wooden slippers that engages in a dialogue with the drums appeared in the 1930s. The dance is characterized by the rhythmic tapping of the Cutaras [wooden slippers] and the sound of drums, sometimes guiding and sometimes accompanying. At times the percussion stops and the Cutaras themselves sound their syncopated contrapuntal variations, reaching a roaring and shattering effect"


This whole second part was one giant party-- the last piece "Comparsita" in particular. Try combining carnival, amazing hip shaking music, costumes with every possible color, tons of glitter and bedazzled-overboard. Comparsas still go on in Cuba. I remember being part of a few during my childhood.



I applaud the performers, the choreographer, the musicians and the organizers of the event for shinning light on what in my opinion is an unknown style of dance here in New York and in most of the world. It was a great time-- believe me!! I found myself being pulled on stage at the end of the show and having a good time but I just think that it needs to be tighter in order to do it justice and correctly represent and educate the audience on what Afro-Cuban is. I don't doubt for a second that "La Mora" doesn't know what she's doing because she is an amazing dancer and dance ethnologist. I'm just a tough critic because I know what its potential is and what it can become and I'm just not seeing it.

Do not let this post discourage you from enjoying and supporting this folkloric dance form. You will want to jump out of your seat and join in on the fun. We've seen an increase in those showing up to the dance classes and it makes me soooo happy.