Clearing Bombs

Last night I attended the world premiere of Clearing Bombs, written by Eric Samuelsen at Plan-B Theatre in SLC. The basis of the play revolves around two economic theories: Keynesian vs. Hayekian economics. These arguments, embodied by their proponents Keynes and Hayek, are polar opposite ideas. The former argues for government intervention (think of FDR’s New Deal) in order to help economies recover, while the latter would argue a totalitarian laissez-faire (think of Hoover after the Great Depression) for an eventual recovery. Using a lower-class third-man, these two economists argue their ideas in order to convince him of the correct way to proceed when WWII eventually ends. The play argues that economics both recovered the USA from the Great Depression, but that misunderstood, created the rise of Hitler. In this way, the play’s use of two economists makes their theories relevant to us today as we also look at the recovery from the Great Recession.

The performance itself was incredibly engaging, especially the dialogue. However, having had time to consider some of the details of the play, there are three parts which I found a little disconcerting. First, at the end of the play, Keynes openly confesses his homosexual stint to Hayek. It felt completely out of place, mainly because the argument lasts for maybe two minutes. It seemed more of a space created to profess an openness towards an issue contemporary to our time. Secondly, Keynes mentions his regards to Eccles, a prominent banker from Utah (and Mormon). That small dialogue (maybe less than a minute) felt like it was put there because the play is performed in Salt Lake City. However, it again felt out of place, as if it wouldn’t be something Keynes or Hayek would mention, but rather the playwright. Thirdly, Keynes’s argument seemed to revolve around the same central point throughout the play: feelings towards the poor and destitute which moves him to immediate action. This argument surfaced many times, and it felt overused. However, besides these three aspects, the rest of the dialogue was very tight, and very moving, especially as the two economists sought ways to explain their theories to a commoner.

                                       Photo from Plan-B Facebook Web Site

The setting was very minimalistic, something I enjoyed, since I felt the dialogue really held the play together well. I feel that if the setting had been more elaborate, the play would have lost some of the great actions by the incredible actors who performed their economist's arguments: Mr. Bowles (played by Kirt Bateman), John Maynard Keynes (Mark Fossen) and Friedrich Hayek (Jay Perry). Each had incredible personas on stage, since each character was able to hold their ground and argument skiilfully. Throughout the play, sporadic intervals introduced plane noises, since the plot includes the three men on top of the roof of King’s College Chapel in Cambridge. This addition planted the play within the historical context of WWII and gave an immediate sense to the relevance of the dialogue on stage.

This is definitely a play worth seeing while it’s open, especially for its relevance to how we proceed as a society currently. As talk of socialism/capitalism/communism remains a public discourse even today, this show will help decipher some of the crucial arguments found under capitalism. Also, Eric did an excellent job of leaving the audience to side with one of the two economists. I appreciated that he did not didactically steer us into one direction.

The play runs from Feb. 20-Mar. 2 at the Rose Wagner Studio Theatre in SLC, UT. Tickets are on sale at arttix.org. (Students receive a discounted ticket. I paid $12 with tax) #seasonoferic

                                              Photo from Salt Lake Tribune

Delito condena y ejecución de una gallina (Felony Conviction & Execution of a Chicken)

On Tuesday I returned to the MAACC to witness a truly Guatemalan play: Delito condena y ejecución de una gallina. The play was written by Guatemalan playwright Manuel José Leonardo Arce Leal and produced originally in 1969. The year is important because from 1960 to 1996 Guatemala was under its own Civil War. In fact, the U.S. Ambassador to Guatemala was assassinated in 1968, one year before this production came to light. Many people carry the burdens of this war with them and I'm sure this play had some impact on that memory.

The theater troupe responsible for this production is from Chichicastenango, El Quiché, called Aj-Tzay (roughly "los que vuelan"-those that fly in English). The name comes from a tradition in Chichicastenango that dates before the colonization of Guatemala called "el palo volador" (roughly the flying stick). A few men climb to the top of a pine tree cut down to its bole or trunk. After reaching the top they slowly let themselves down on a rope. Chichicastenango is a tourist destination mainly for its traditional Mayan market on Sundays and Thursdays. Moreover, the Popol Vuh originally came to light in this small town. Thus, receiving theater from a troupe from this special place is a  treat for those of us located in the capital.

The play itself is metatheater (or theater that knows it's theater) and it tends toward the grotesque: obscene gestures, lots of swearing, mutilation, guns, and finally, the actual execution of a chicken. Given the avant-garde nature of this show it was censured from Guatemala for some time. For more information about the play itself from the actual playwright you may check this website: Why Arce Leal wrote this work (in Spanish). The metatheatrical aspects include: actors "acting" as if they aren't ready for the play, bringing in a "blind" man to play the guitar (as if he were a real audience member in the beginning), actors engaging with the guitarist/singer on the front row and speaking directly to the audience (breaking down the 4th wall). Arce Leal's desire to blur the lines between fiction and reality created an atmosphere of uncertainty.

This uncertainty played well into the concept I took from the play: we may be actors but what we are presenting is real life so don't escape too far from reality. Indeed, the audience couldn't always be certain if the actors were really a part of the space with us or consumed in their own world. All this said, these actors were not professionals. It was obvious during climactic parts and emotional scenes that each character had simply memorized his/her's lines and prepared to recite them on stage to his/her partner. That really pulled me out of the play (but hey, if metatheater is your cup of tea then maybe the poor acting could be a director's choice to keep us back in reality!). However, with all this said, I am deeply grateful this troupe brought this play to us and am also grateful for any production of theater I can find here!

The biggest turning point in the piece was when the actress pictured above came on stage and directed herself to us. Holding a live chicken she informed us that for practical reasons and theatrical limitations she could no longer continue her roll as the oppressed chicken. Rather, this live chicken would replace her for the upcoming execution. She as well as many others on stage had been turned into an animal. They represented the poorer, more indigenous people of Guatemala who had become slaves under a repressive government and capitalist system. Previous to taking the stage the owners of the chicken farm had mutilated her "beak" with a candle to show the rest that eating their own eggs (for lack of real, sustainable food) was an abominable sin. This wasn't enough so the owners decided to publicly execute the rebellious chicken to stop their mutiny.

They tied the chicken to a trunk and the executioner waited behind with a sharp machete. He simply walked towards the stump and then decapitated the chicken (with a sharp "bwak" from the chicken). About 10 seconds later the larger part of the chicken moved and we heard a noise. It was the most dramatic scene of the play, and I would argue the climax. The "great distributor" came on stage with his assistants and declared how much they had won through their capitalist efforts. The rest of the actors came on stage and declared they weren't chickens anymore and were real humans. From there the play quickly finished and the actors bowed. It was a very quick denouement.

The capitalist/communist argument persists here in Guatemala. The Cold War affected much more than Russia, Cuba, Europe and the U.S.S.R. The U.S. government meddled in a lot of affairs in Latin America in order to maintain their interests and stabilize the region as a capitalist hemisphere. Even at my church there was someone who mentioned this topic saying we could never live in a friendly communal way as Christ would have us because the developed countries had shoved capitalism down their throats and there's no way to reverse it. The whole idea of oppressing the farmers because the "great distributor" wants to make more money is a classic demonstration of anti-capitalist sentiments. I choose not to entangle myself in this debate. Each person has their respective views. I simply want to show that the Cold War capitalist vs. communist ideals have not died away (as this popular Guatemalan play shows).

There were far more people at this event than the previous (most likely because there was only one function). However, for me, the play lacked a lot of "umph." By "umph" I mean something to take away. One of the most talked about ideas throughout the world is the idea of government and corporate oppression of the masses. This play demonstrated that idea through the "animalización" of these characters into chickens. However, it didn't leave us with an idea of how to solve the problem. For me it's one thing to address a problem, it's a completely other thing to be constructive and put forth new ways of thinking about the problem with a solution in mind. This play may have meant far more to Guatemalans during the actual Civil War. It may mean more to those whose lives revolve around agriculture. For me the production revolved around the shock factor of the executed chicken and I left hoping that dead chicken was going to be useful on their long way back to Chichicastenango.

Pepián de tres carnes (Pepián of Three Meats)

Yesterday my wife and I traveled to the Miguel Angel Asturias Cultural Center in Guatemala City to see a fantastic piece of adapted theatricality titled "Pepián de tres carnes." The MAACC (1978) is a huge complex which furnishes three theatrical venues: The Great Hall/National Theatre "Efraín Recinos," the smaller, more intimate theatre "Hugo Carrillo," and an outdoor venue, as well as other cultural and theatrical spaces.

Inspired by Mayan culture the outline of the facade is a jaguar in a resting position, a prominent symbol among Mayan cultures. In this particular photo the head is farther away with the back paws more prominent.  According to the MAACC website, this structure is a way of saying that there was absolutely no Greek or roman architectural influence. Rather, they created a very organic architecture that fit within Guatemalan history. 

This was my first time seeing truly Guatemalan theatre. When I say truly Guatemalan I am referring to the language, acting, themes, venue, etc. Having lived in Guatemala in various locations (Xela, San Marcos, Guatemala City) with my wife I've learned some of the colloquialisms of this region (for example=patojo, child; nombre=my goodness; a la gran púchica=you've got to be kidding).

Xela

San Marcos

Guatemala City

I have to admit that had I not experienced Guatemalan culture before seeing this play I would have been very lost. As well, many of the traditional customs reproduced in this work are still held today in various parts of the country (fear of going to the hospital to give birth because your baby could be stolen, killing a chicken if you give birth to a boy, etc). While I may be unaccustomed with some of the cultural ideologies of certain parts of this country, I still respect them and note that their cultural traditions maintain their communities united and of interest to extranjeros like me.

The theatrical troupe that is presenting this show is Teatro Barrio Viejo, under the direction of Edgar Quiñónez, a well known actor, director and writer, among other talents. He is also the Assistant Technical Director of the MAACC. He adapted this show from Hugo Leonel Valle y Valle's story book "Una mano de cuentos" (roughly "A Handful of Stories"), which relates the life of a small fictional village, San Gabriel, Sacatépequez, during the 1950's.

The play was set up so that the handful of stories would be woven into about 5, with one single thread connecting the work together. The chronological sequence of the work really depends on one thing: a university professor's obsession with figuring out why more people die after one person dies (it would seem logical but that was farcical side of the show). However, I felt that each scene was supposed to emphasize relationships and characterization. I feel that is what made this play so special. We see a little of ourselves in each of the characters. By the end of the show when the whole village celebrates a commemoration of their village's support of the Panama Canal, every single character that developed throughout the show was on stage. It was difficult to watch just one person because each character maintained their true self on stage. Honestly, it was like watching a group of friends on stage. You know how each one reacts and they are all enjoying themselves. It was real and it was fun.

Each scene had incredible actors. What really moved me throughout this work was the development of character. Each person had a relationship with another person on stage and it was very obvious how each person was accustomed to acting and reacting with each other. From what I've seen among my wife's family, they had each character right on. While there was a bit of exaggeration and lots of puns, it almost felt completely real. I've met a lot of people who act just like them!

Now, I have to say there were two actresses that stole the show for us. The first was Elizabeth Morales who played the midwife of the village and the eccentric drunk at the party. She captivated all or our attention and had us laughing with all her shot taking at the final party scene ("sus quitapenas" as she called them). The second was Ivette Monney who played Eulalia, one of the main characters throughout the play. When she would return from the market to tell her gossip she had us all captivated. There was one moment when she imitated the drunkard of the village wailing after a woman who cursed him. In one moment she was wailing, and then the next she barely could hold herself from laughing. The transition was impeccable. Absolutely outstanding.

With what I've just said I don't give any justice to the rest of the cast. Really, they were excellent. Each had their own idiosyncracies and captivated us without a doubt. For my first experience with Guatemalan theater, I am impressed and hungry for more.

As you can see from this picture the audience was almost non-existent. In fact, they might have started the show a bit late because at 8:00 P.M. there were probably 10 of us in the theater and the show finally began at 8:20 P.M. (what I like to call "hora chapina" or Chapin time-Chapin means Guatemalan). By the end there were about 20 people there.

Honestly, these are incredible actors (professional and acting students) and the only people really missing out are the ones not attending. The show continues to run until the 28th of August on the weekends in this small venue and the price is Q60 each (the equivalent of about $7.75 a ticket). If you are in the area check it out before it closes. You won't be disappointed as you enjoy a serving of Guatemalan culture in this spectacular production.

Mana-Drama y Luz Tour

On the 26th of October the Guadalajara-based rock group Mana came to the Autonomous University of Guadalajara, known as "La Autonoma." This university is very close to where we are living, so we actually walked to the Estadio 3 de Marzo (Stadium 3rd of March) which is right off Avenida Patria. It's so interesting the types of concerts they hold in Mexico. For example, on the 1st of December in the same stadium Britney Spears will be performing, and in other venues around Guadalajara other famous singers and bands from the United States will be performing (like Aerosmith and heavy metal bands).

Here's a little about the group from Wikipedia:
           Mana is a pop rock band from Guadalajara, Jalisco, Mexico, whose career has spaned more than three decades. They have earned three Grammy Awards, seven Latin Grammy Awards, five MTV Video Music Awards Latin America, five Premios Juventud awards, nine Billboard Latin Music Awards and 13 Premios Lo Nuestro awards.
            Their sound has been described as drawing on pop rock, Latin pop, calypso, reggae and ska. They initially received international commercial success in Australia and Spain and have since gained popularity and exposure in the U.S., Western Europe, Asia, and the Middle East. Their worldwide sales stand at more than 25 million albums as of 2011.
            When we arrived it was fairly packed. We moved our way towards the gates that sectioned off half the floor. The front part had seats and those of us in the back half were standing. In the center was a make-shift stage and the tech crew below.

This picture was taken before the concert began.

This was taken right after the concert when we finally could reach the gate between the two sections. There were a lot of people walking through the crowds with beer and chips. The range of ages that we saw was anywhere from teenagers to an old lady in front of us rocking her heart out. It was awesome to see someone like that at this concert. There really wasn't any notable difference between this concert and any other typical American concert. The lighting, sound, and pyrotechnics were amazing. Here's a look at one of the songs of the concert "Manda una Senal:"

Here's "Si no te hubieras ido." The first time I heard this song was in 2010 in Southern California where there are various radio stations in Spanish.

I enjoyed the original and well-known songs Mana performed, but I was really disappointed because I was looking forward to hearing newer songs like "El Verdadero Amor Perdona" and Sor Maria." The advantage of performing so many classics is that Mana keeps the older generations coming back again and again with the same songs. In fact, the little old lady in front of us was jamming out to just about every song. Bless her heart.
Now, I have to critique the concert. The first song was cleverly staged. In order to show special effects over the band there was a thin screen which allowed the audience to see the performers but also allowed the tech crew to shine different patters of water in the song "Lluvia al corazon." Here's the official video so you know the song:

The lighting was amazing with effects in just about every corner of the stage. As you have already seen in the videos I posted earlier there were a lot of lighting effects (probably part of the reason the tour is called Drama and Light). At the end of the show they projected "Gracias Guadalajara" and shot off many fireworks.

In terms of the song selection there were many different styles: reggae, ballads, alternative rock and pop. They have a unique style, especially the versatile lead singer Fher Olvera who plays acoustic and rhythmic guitars, does lead vocals, and plays the harmonica. There was also about 15 minutes of a straight drum solo by Alex Gonzalez, also known as "El Animal." He was amazing and really energetic. The two guitarists were very quiet: Serio Vallin (electric) and Juan Calleros (bass). The whole band is extremely talented.
As you saw in one of the videos before (si no te huberias ido), there was a small make-shift stage in the central section of the ground area. Around 3/4 into the show there was a small video about humanitarian aid, and then out of no-where the group starts climbing the ladder onto this small stage. They called on someone from the audience (obviously a girl), so they could sing a romantic ballad. It was neat how close were to the band. Gloria absolutely loved it. She's been to Mana concerts before, though this is my first one.
This was an enjoyable experience because I had been looking forward to a Mana concert while in Mexico. Mana is a current group that is in the market not only in Latin America but also in the United States (having performed on the Jay Leno Show). Again, there was a sense of community as people from all ages gathered and packed themselves like sardines. One of my biggest concerns when I gather with a lot of Latinos is bumping into someone. When people are squeezed together someone's foot has to be smashed in the process. Then the anger comes out. Luckily even though we were really packed there wasn't any anger over pushes or accidental bumps.
I felt as though the lead singer could have used a bit more tactics while singing. You have to be creative and keep an audience happy for 3-7 minutes per song, for about 2-3 hours. After awhile one becomes tired and runs out of antics. The drummer was a great example of someone staying on their feet for the whole performance. He was really energetic and that kind of energy feeds into the audience. Though I do give the lead singer credit because his role is the toughest: all eyes are on him throughout the entire show.
It was a wonderful concert. Gloria and I thoroughly enjoyed it. Maybe one day we will attend another Mana concert in the U.S., or perhaps another Latin rock group.

Aida-28 Oct. 2011

I believe it is important to know that AIDA, the Tim Rice & Elton John musical produced over and over again in the United States for its catchy tunes and tragic love story, is in some ways different here in Mexico. The biggest difference is that the musical is translated into Spanish and boy was it difficult to sing along. Another big difference is the mentality in which one views AIDA while living in Mexico and the United States. I in no way want to offend anyone in this article, so please take what I am about to say lightly. This is my opinion and my observation, nothing more. I have come to notice that in the United States we live among a lot of wealth. For that reason, the American perspective of AIDA shows how material worth doesn't give you the pleasure you desire in the end. With our educational system inculcating books such as The Great Gatsby and Romeo & Juliet (the play), among many others, we learn to depreciate the value of money as the means to a happy life, and rather look at happiness in terms of relationships and social pursuits. Countless movies demonstrate this trend as well, such as The Pursuit of Happyness, Cinderella Man, and UP, just to name a few. On the other hand, what I have noticed in Mexico is the pursuit for wealth as a major factor that drives most interactions. People see glimpses of wealth here and desire to be like those who do become wealthy (Carlos Slim, for example). I have experienced that at just about any opportunity most Mexicans will look for a way to make money. Whether that is because of their poverty or because of their desire to be rich is up for debate. Mexico is the country with the biggest gap for those who earn income, making it an extremely poor country for the majority. As I have interacted with many people, either on the street, the bus, in school, and elsewhere, I have come to learn that Mexico is a society where people will do anything to take your money. They will jump out at your car in the intersection for a couple of pesos just to wash your windshield. They'll hop on a bus for 5 minutes, sing a song and expect at least a few to pay them for their talent (or lack of it).

Thus as I reflected on how Mexicans could perceive this musical, I couldn't help but consider that they might disagree with how AIDA is played out. Indeed, Rhadames could have had everything, I mean, he had a woman that was madly in love with him, so there could have been a possibility that one day his feelings could allow him to love Pharaoh's daughter, Amneris. He had the kingdom of Egypt at his hands. With a society that looks for ways to get ahead and leave their poverish backgrounds, Radames is the biggest idiot. At the same time, those in attendance aren't those in extreme poverty, but we all know that Mexico is a relatively poorer country with one of the most dangerous cities in the world (Ciudad Juarez). I am in no way saying the United States isn't violent in some areas. We all know St. Louis, Missouri is the most dangerous city in the U.S., with my hometown Kansas City, Missouri as one of the other cities with an extremely high crime rate. But let's not kid ourselves. It's a completely different ballpark here in Mexico. Thus stated, it is important to consider how one society may react to another society's entertainment, because even though we are all humans, we perceive reality differently.
Now may I say how enjoyable the show was. The scenery was superb. Here's a picture of the actual set. I could only take this picture at the end so I can't show the incredible backdrops that were constantly changing for each scene.

The eye of this part could be replaced by some type of backdrop that changed colors. This was used in the "Like Father, Like Son" song. Here's the curtain they used that is similar to this backdrop.

The singing was exceptional, but I only had one qualm, which could have just been a stylistic choice. Most of the time when the performers would go for a higher note they would slide. Maybe that feels more appropriate since it's a pop-esque style of music, I mean, come on, this is Elton John we're talking about, not Verdi. Yet for some reason it said to me that perhaps these actors were incapable of really hitting a note dead-on. Again, it may be a stylistic choice, but I would have liked to have heard at least a couple of notes without having to slide up to them. The singers were excellent, though. Every major singer was right on. I was a bit sad, though, because I couldn't really sing-along, although I had an idea of what they were saying. It's different having to rhyme in Spanish. The lighting, costumes, and make-up were also superb. This was a top-quality production.

The director, Chema Verduzco, did an excellent job. At the end he recognized his whole team which made possible the entire production. It was a lengthy but worthwhile recognition. They were sponsored in part by the XVI Juegos Panamericanos which were still occurring during this performance. Therefore, there were people from other countries that attended as well. Indeed, this American (North, Central and South) event brought many people here, and obviously they capitalized on this influx of capital to perform this show and maximize ticket sales.
Here are some photos of the playbill and one of the advertisements in the actual theater hall.

You can see on the back side the symbol of AIDA as well as the logo for the Juegos Panamericanos (Guadalajara 2011).

Well, all in all we enjoyed it. This was Gloria's first musical experience, and

Uncle Vania-Tio Vania, International Cervantes Festival

Gloria and I made our way back to Guanajuato for some unfinished business. We finally were able to make it to the State Archive of Guanajuato to do some research, which proved to be very helpful in terms of biographical information. This was also the opening week for the International Cervantes Festival, where for a couple of weeks they hold performances of many kinds (opera, theatre, musicals, dance, street spectacles, etc.) in the various venues around Guanajuato. To be honest, Guanajuato is our favorite place in Mexico, and we really wish we could have come here to study. It's like night and day compared to Guadalajara in terms of like-ability. So after we did some more research we were able to get two tickets to a very special performance of Uncle Vanya, an Anton Chekhov play. Anton Chekhov is from Russia and considered to be one of the revolutionary playwrights who brought theatre into the modern age. I remember in my theatre classes we discussed his revolutionary play The Sea Gull that was a disaster at first but became later one of the most celebrated plays because of the change in acting techniques (Stanislavsky-esque Acting).
It was honestly a miracle we were able to make it because Ticketmaster was very difficult with us. We went to the Teatro Principal, one of the main venues in Guanajuato.

It's really more of a white-ish/green look. This picture is obviously edited. Unfortunately the only pictures we took were on the inside. Like these:

 This is the stage at the beginning. They put bales of hay on a hanging platform of tubes. These were hanging throughout the entire performance to give the appearance of a farm-atmosphere, if not to show that they lived in a barn.

 Here's a closer look at their scenic design. Very creative.

 Since they spoke in their native tongue (Russian) there were super titles in Spanish. It was a privilege to hear Chekhov in his own language.

 Here's an interior shot where the audience comes in at the bottom.

It looks like a normal, small theater. Just like any other typical theater in the United States.
Now, may I talk about their acting. Powerful!!! You felt like you just left Guanajuato and spent a few hours with Russians back in Russia. The acting was sincere and creative. It appears as if this play follows the neo-classical rules to a certain extent: the play takes place in one room and the time appears to move almost as fast as it takes to perform the play, without anything but serious and real matters brought forth. There was a fantastic scenic technique they employed for the rain. At the back of the stage there were two patio doors. Behind the stage, above these doors they employed a system that actually rained, so when the daughter goes outside, she actually comes back in wet. Obviously there must have been something underneath collecting the water. That was one scenic design that stood out, besides the bales of hay that gradually descended after the final word.

This is how the stage looks at the end. After the daughter, Sonia, played by Elena Kalinina, finished her heartfelt speech about how they would find solace in God even through their despair. The final speech is more of a desperate plea convincing herself that God will help them rather than truly finding solace in the God they believe. At least that's how I interpreted the tragic ending.
The story of Uncle Vanya revolves around a Russian family wrought with financial problems. The main woman, the wife of the ex-professor, falls in love, or is more enticed, by two others, Uncle Vanya and the doctor. Also, Sonya, a daughter, is looking for love as well, but believes no man will ever love her, and by the end, it looks as if she's right. The whole play is tragic, with the ending a very gut-wrenching plea that God will save them from their misery.
I don't quite understand why the bales of hay were lowered around the actors at the end.
It was a unique experience and a surprise for me that the play was in Spanish. The International Cervantes Festival holds special performances like these each year as they invite countries to visit Guanajuato and present theatrical productions. What I find terribly sad is that I had never heard of this festival before. It's an international affair and it's been held for years. I believe this year is the 39th year. They invited countries like Finland, Norway, and Denmark as their guests of honor, amid other countries represented, such as this Russian company. We witnessed a jazz ensemble one evening for free from Stockholm, Sweden.
It was a wonderful experience. Guanajuato is a very cultured city full of theater and history. It stands out, at least for me, from Guadalajara in the sense that it is a cleaner, safer, more beautiful city. Mexico has some diamonds in the rough, and Guanajuato is one of them. We will miss this city when we leave more than any other that we were able to visit so far.

El Grito de Dolores-Theatrical Experience

For Mexico's Independence Day on the 16th of September, 2011, Gloria and I went to Guanajuato, Guanajuato, Mexico. Guanajuato is a unique experience, given that this small city is kept small due to its very European city planning (small roads, small intersecting alleys between houses). The old city charm is maintained which makes Guanajuato a "must-see" when someone visits Mexico. I went mostly because it was the 1 out of 2 weekends that the Tec de Monterrey lets us have a Friday or a Monday off. This time it was a Friday. Ibarguengoitia, who I'm researching, has his remains in Guanajuato, inside the Parque Florencio Antillon, located right next to the Presa de la Olla. We absolutely enjoyed our experience in this charming city.
Let me fill you in on a Mexican tradition that dates back to 1810 when Miguel Hidalgo y Costilla, a father in the Catholic Church, initiated the uprising that would eventually fail in its immediate outcome but would spark the fire for insurgency among crioles and natives of Mexican and Central American territory. Just look at the dates of independence for the latin american countries in these regions: Guatemala-1821, El Salvador-1821, and Panama-1821, just to name a few that seceeded from Spain's monarchical rule. Hidalgo plays a very important role in Mexican history, being named the "El Padre de la Patria," (Father of the Homeland).

History tells us that after the October Revolution was found out by a series of betrayals, Hidalgo felt the need to push his insurgency to rise in September. He went into the church in Dolores Hidalgo and rallied the community together to begin the insurgency. He then went to Atotonilco and took down a picture of the Virgin and put it on a staff (much like Moroni's "Title of Libery"-see Book of Mormon) and gave historic shouts. What he actually said is not known today, but according to The Course of Mexican History it went along these lines-"My children: a new dispensation comes to us today. Will you receive it? Will you free yourselves? Will you recover the lands stolen by three hundred years ago from your forefathers by the hated Spaniards? We must act at once… Will you defend your religion and your rights as true patriots? Long live our Lady of Guadalupe! Death to bad government! Death to the gachupines!'" The "gachupines" are Peninsulares, or Spaniards born in Spain but living in "Nueva Espana."
Today the Grito goes a little something like this:

Mexicans!
Long live the heroes that gave us the Fatherland!
Long live Hidalgo!
Long live Morelos!
Love live Josefa Ortiz de Dominguez!
Long live Allende!
Long live Aldama and Matamoros!
Long live National Independence!
Long Live Mexico! Long Live Mexico! Long Live Mexico!


At the end of each exclamation mark the crowd shouts "viva." This is a national tradition that unites Mexicans to their history. The night Gloria and I arrived in Guanajuato was the 16th of September, 2011. After making our way to the hotel Real de Minas and getting somewhat settled, we headed to the Alondiga de Granaditas. This is another historic building where Hidalgo's company stormed in and killed every single Spaniard alive: men, women, and children. It was extremely brutal what they did in retaliation to the Spaniards. For me, killing innocents not involved in politics that kept the majority in slavery in Nueva Espana makes me not consider Hidalgo as such a heroic figure, but nonetheless he did spark the uprising that eventually made Mexico an independent country. In one of my literature classes here at the Tec de Monterrey we had to read the book Los Pasos de Lopez by Jorge Ibarguengoitia. I absolutely loved the novel. Ibarguengoitia paints Hidalgo and the other conspirators of the insurgency as normal people, with traits that make them human and therefore fallable. He wanted to demystify the legends of untouchable heroes in Mexico. So, when we arrived in Guanajuato my perception of Hidalgo was very different than a national hero, he was a person just like anyone else, with interests and shortcomings-who performed something extraordinary.
We arrived at the main plaza around 10:50 PM, ten minutes before the "Grito" began.

We made our way towards the actual Alondiga de Granaditas. And then it happened...

Just like the Fourth of July, there is a sense of community as each individual and family unite under the Mexican flag. This is theatre at its best. The whole make-up is a ritual tradition, and it is quite beautiful to see so many people gather to watch a ritual performance. May I refer those who are reading back to the origins of modern theater in Greece. Theatre sprang out of the rituals of the City Dionysus. This is something similar as well, although this time it's not so much religious as it is political/historical. The whole night was looking towards this one moment for the "grito."

 Afterwards they set on fire two figures that appear to be Hidalgo and some other person important in the fight for Mexican independence. Pretty much all the lights went out to make the pyrotechnics stand out incredibly. The whole set-up was performed wonderfully, and by wonderfully I mean that it fulfilled its purpose to unite Mexicans in their patriotism. It made me even feel a bit jealous for their tradition, because in the United States we just sing the national anthem, eat BBQ and watch the traditional set of fireworks. Here they come together at a historical monument, give homage to their forefathers, sing the national anthem, and still have time for fireworks at the end.

Afterwards we walked around and enjoyed some food. All over Mexico, in just about every pueblo the "grito" that began the revolution is still remembered in the hearts of Mexicans.