Criticism / Visual Arts / Books, etc

Singer Betsayda Machado, second from the left, and the drums-and-voices ensemble La Parranda El Clavo Photo courtesy Xavier Lujan. Presenting music from a foreign tradition poses particular challenges. Yes, music transcends much, but much is lost in the translation. How to make an audience experience the...

From left to right, Israel Suárez "Piraña," percussion; Alain Pérez, bass; Antonio Sánchez, guitar; Antonio Serrano, harmonica; David De Jacoba, cante, and Farru, dancer. Photo by Luis Malibran There are few artists who have had the impact in their disciplines that guitarist Paco De Lucía had in flamenco. There is a before-and-after De Lucía in flamenco. He expanded the harmonic vocabulary and guitar techniques, incorporated instruments from outside the tradition, and had a curiosity that led him to collaborations with artists as disparate as jazz guitarist John McLaughlin and Brazilian pop star Djavan and also opened new vistas to flamenco artists. He also worked with unorthodox (for flamenco) ensembles, most notably his revolutionary sextet, which included sax, electric bass and cajón, in the 1980s and ‘90s and then later, for 10 years, until his passing in February 2014, his septet. This remarkable group has been re-assembled by producer Javier Limón, a long-time friend and collaborator of De Lucía, and will be performing a tribute at the Olympia Theater in downtown Miami, Florida this Sunday.

Augusto de Campos, Amor Te, 1970 The Miami Herald, October, 1998 The term "concrete poetry'' suggests curious paradoxes -- something like a weightless granite block or a riveted page of text. In fact, it's poetry as a sort of three-dimensional art form, in which not only the...