MELA "E Day: The celebration of all the Spanish speakers" at Instituto Cervantes, 48, Hanuman Road, Connaught Place > 11am onwards on 24th June 2017

celebration of all the Spanish speakers

Time : 11:00 am onwards Add to Calendar 24/06/2017 11:00 24/06/2017 21:00 Asia/Kolkata MELA "E Day: The celebration of all the Spanish speakers" Event Page : http://www.delhievents.com/2017/06/mela-e-day-celebration-of-all-spanish.html Instituto Cervantes, 48, Hanuman Road, Connaught Place (CP), New Delhi - 110001 DD/MM/YYYY

Entry : Free (Seating on First-Come First-Served Basis)

Venue : Instituto Cervantes, 48, Hanuman Road, Connaught Place (CP), New Delhi - 110001
Venue Info : Events | About | Map
Metro : Nearest Metro Station - 'Rajiv Chowk' (Yellow Line and Blue Line)
Area : Connaught Place (CP)

Event Description : MELA "E Day: The celebration of all the Spanish speakers".

Synopsis: Yet another year, calling out to all Spanish and Latin American lovers in Delhi!!! A range of entertaining cultural programs for all age groups await you at Instituto Cervantes on July 2nd!! Check out the program list below drawn up in collaboration with the Spanish and Latin-American Embassies in India and don’t forget to join us!!!

Instituto Cervantes is celebrating the Día E in all its centers around the world to celebrate the Spanish language that is spoken by more than 500 million people in the world. It is the second language in the world in terms of number of speakers, the second language of international communication, the second most used language in the two main social networks in the world: Facebook and Twitter, and the third most used language on the Internet.

Time - Place - Activity
11:00 a.m. - Exhibition Gallery - Inaguration of the E Day and the photo exhibition “Platero & I” by Anurag Banergee on the text by Juan Ramón Jiménez
11:15 a.m. - Main entrance - Rain of words
11:20 a.m - 1st floor - Opening of the mela “Discover Spain & Latin America”
11:30 a.m. - Exhibition Gallery - Workshop for kids
12:00 p.m. - Library - “The Sounds of our Language”. Readings opf poetry and tales by
natives from different Latin American countries
1:00 p.m. - Conference room - Learn your first words in Spanish
1:30 p.m. - Conference room - What’s DELE?
2:00 p.m. - Conference room - Luckydraw
2:30 p.m - Auditorium - Film screening of the Spanish an Latin American short films awarded at
Pickurflick Festival, and the movie “Map” by Elías León Siminiani
4:30 p.m - Exhibition Gallery - Dramatised readings of “The Aleph” by Borges, “The country where children don’t want to be born” by Roa Bastos, “The day of collapse” by Rulfo, and “Don Homobono and the crickets” by Cela
5:30 p.m. - Auditorium - Dance performance “Platero & I” by Kamakshi Saxena y Joshua Sailo, on music by Eduardo Sainz de la Maz & Castelnuovo Tedesco
6:30 p.m. - Exhibition Gallery - Workshop “Learn your first steps on tango” by Maia Glikstein

7:30 p.m. - Main entrance - DJ session on Latin music

Synopsis of the theatre performances: “The Jealous Old Man” reflects Cervantes’ interest in
obsessive-compulsive psychological states that border on madness – most famously represented in Don Quixote. Here a paranoid old man marries a much younger woman, only to be cuckolded by her in his own home. The play opens with the lady of the house, Lorenza, complaining to her niece Cristina and an old bawd, Ortigosa, that she has been locked up and patrolled by her jealous old ‘gaoler’, her husband. 
Ortigosa offers to sneak a young man into the house for Lorenza to enjoy. Cristina also wants a man for herself, and Ortigosa leaves, promising to bring them both. Meanwhile Cañizares, the Jealous Old Man, is outside conversing with his friend,; he reveals how he is jealous even of the wind that blows on Lorenza, though she has never given him cause. Cañizares won’t even allow his friend to enter the house to say hello to Lorenza, he is so jealous of all other men. Ortigosa knocks on the door, pretending to be asking the master of the house for money to bail her son out of jail, in exchange for a large tapestry which she has brought along to sell. Pictured on the tapestry is a handsome young man in a cape; as she and Lorenza hold up the cloth to inspect it, a young man sneaks into the house behind the tapestry. Once the young man is safe in Lorenza’s chamber, Ortigosa takes her leave and Lorenza goes into her room. 
Cristina and Cañizares hear Lorenza ‘enjoying’ her young man from the sounds emanating from the next room. Cañizares attempts to go through the door, and Lorenza throws a bowl of water in his face, allowing the young man to escape. Lorenza yells at her husband for not trusting her and for making a fuss, and an Officer of the Law hears the shouting. He comes in to make sure all is well, accompanied by neighbours, Ortigosa and a musician. After Cañizares is reconciled to his wife and Ortigosa, the musician calls for a song, and all ends in apparent neighbourly harmony.

Biographies of the artists and teachers:

Anurag Banerjee is an independent photographer based in Bombay. His work has been published in Indian Quarterly, Time Out Mumbai, Better Photography amongst others. Anurag is currently working on his first photo book titled 'Love in Bombay'.

Kamakshi Saxena started training in ballet, jazz and contemporary dance styles with The Danceworx performing arts academy in New Delhi where she worked with several choreographers and teachers from all over the world and performed extensively with The Danceworx Company. She then moved to New York City to further train in modern dance techniques like Horton, Graham and Dunham at the Alvin Ailey School where she trained under some of the leading dance makers of New York City. Since then she has worked with several dance companies and choreographers and performed at various festivals and productions in the United States. Back in India she has presented her choreographic works at festivals like Contemporary Arts Week, Parallel Conversations and Prayatna
Film and Dance festival. She continues to explore further into the realms of dance and movement.

Joshua Sailo Based in India, Joshua Sailo investigates movement through a multidisciplinary lens informed by close collaborations with other artists and improvisational studies. His playful approach towards performance-making stems from a curiosity towards the parallels, juxtapositions, and conjunctions that exist within the interaction of different art forms and contextualizing dance within the socio-political framework. With the integral
partnership of composer and producer Juan Rodriguez/Sinego, Sailo created his first solo work Wail (2016) exploring the influence of repetitive cycles in nature and history through the confluence of dance and music. His ongoing work Recall (2017) aims to understand the social prejudices that have been left unchecked since Mizoram’s insurgency through movement and partner work, with the short-film adaptation presented in film festivals
across three cities in India as well as Canada. Dividing his time between New Delhi and his hometown Aizawl, Sailo is actively engaged in the development of contemporary dance practice and infrastructure in India through project based work with Gati Dance Forum and other independent artists, as well as fostering the growth of contemporary arts in Mizoram by engaging the community with public performances and workshops. As a performer, Joshua works closely with choreographer Mandeep Raikhy in the touring of his work 'a male and has straight antennae', and has worked with various international artists including Toronto Dance Theatre, Cirque du Soleil, 45 Degrees, The National Ballet of Canada, Compania Sharon Fridman, Peggy Baker, Louis Laberge-Côté, Heidi Strauss, and Darryl Tracy.

Octave Foundation is an NGO that was established with the idea of bridging the gaping divide between India’s North Eastern states and the rest of the country by bringing together folk tales, narratives, culture, habits, traditions, simplicities and complexities, words and songs. Growing up in a decade that has witnessed innumerable sociopolitical
conflicts, the founders of the organization recognize that creative arts and performance arts transcend all boundaries by forming a language of their own. To bring people together, which is critical now than ever before, we have to delve deeper into our roots and give platforms of convergence to celebrate ethnic diversities. With this mission, Octave Foundation is attempting to weave the dying art of storytelling and the strong need of cultural convergence to a single platform called Wari. The word ‘Wari’ means ‘story’ in Manipuri language and since its inception in May 2016, nine stories spanning nine different regions have been performed. Wari is an effort to initiate conversations. More about us here: octavefoundation.org

Varoon P. Anand came to New Delhi in October 2009, after three years at the Theatre Guild of Ancon in Panama as actor, Director of Productions and serving on the Board of Governors. This will be Varoon's fifth directorial venture in association with the Instituto Cervantes after adapting, translating and directing Jordi Galceran's “El método Grönholm”, the classical Spanish play “El retablo de las maravillas” by Miguel de Cervantes, Julio
Cortazar's radio play “Adiós Robinson” and the short story Srta. Cora, also by Cortazar. This will be Varoon's second association with The Embassy of Argentina in India after a series dedicated to the work of Julio Cortazar. 
Varoon is also the Artistic Director of Kaivalya Plays.

About the writers, composers and filmmakers:

Juan Ramón Jiménez, (born Dec. 24, 1881, Moguer, Spain—died May 29, 1958, San Juan, P.R.), Spanish poet awarded the Nobel Prize for Literature in 1956. After studying briefly at the University of Salamanca, Jiménez went to Madrid (1900) at the invitation of the poet Rubén Darío. His first two volumes of poetry, Almas de violeta (“Souls of Violet”) and Ninfeas (“Waterlilies”), came out that same year. The two books, printed in violet and green,
respectively, so embarrassed Jiménez in his later years by their excessive sentiment that he destroyed every copy he could find. A man of frail constitution, he left Madrid for reasons of health. His published volumes of that period, including Pastorales (1911), Jardines lejanos (1905; “Distant Gardens”), and Elegías puras (1908; “Pure Elegies”), clearly reflect the influence of Darío, with their emphasis on individuality and subjectivity expressed in free verse. 
Jiménez returned to Madrid in 1912 and, for the next four years, lived at the Residencia de Estudiantes and worked as an editor of that educational institution’s periodicals. In 1916 he traveled to New York City, where he married Zenobia Camprubí Aymar, the Spanish translator of the Hindu poet Rabindranath Tagore. Shortly after his return to Spain, he published Diario de un poeta recién casado (1917; “Diary of a Poet Recently Married”), which was issued in 1948 under the title Diario de un poeta y mar (“Diary of a Poet and the Sea”). That volume marked his transition to what he called “la poesía desnuda” (“naked poetry”), an attempt to strip his poetry of all extraneous matter and to produce it in free verse, without formal metres, of a purer nature. During the Spanish Civil War (1936–39), he allied himself with the Republican forces, until he voluntarily exiled himself to Puerto Rico, where he spent most of the rest of his life. Although primarily a poet, Jiménez achieved popularity in the United States with the translation of his prose work Platero y yo (1917; Platero and I), the story of a man and his donkey. He also collaborated with his wife
in the translation of the Irish playwright John Millington Synge’s Riders to the Sea (1920). His poetic output during his life was immense. Among his better-known works are Sonetos espirituales 1914–1915 (1916; “Spiritual Sonnets, 1914–15”), Piedra y cielo (1919; “Stones and Sky”), Poesía, en verso, 1917–1923 (1923), Poesía en prosa y verso (1932; “Poetry in Prose and Verse”), Voces de mi copla (1945; “Voices of My Song”), and Animal de
fondo (1947; “Animal at Bottom”). A collection of 300 poems (1903–53) in English translation by Eloise Roach was published in 1962.

Eduardo Sáinz de la Maza (5 January 1903 – 5 December 1982) was a Spanish composer. Born in Burgos, he was brother of Regino Sáinz de la Maza. Composing for the Classical Guitar, some of his notable works include the suite Platero y yo for guitar, and Campanas del Alba. He died in Barcelona.

Mario Castelnuovo-Tedesco, (born April 3, 1895, Florence, Italy—died March 15, 1968, Hollywood, Calif., U.S.), Italian-born composer in the Neoromantic style. Castelnuovo-Tedesco studied under Ildebrando Pizzetti and became widely known during the 1920s. In 1939 Benito Mussolini’s anti-Semitic policies led him to emigrate to the United States, where he settled in Hollywood. He appeared as soloist in his Piano Concerto No. 2 and also wrote
three violin concerti, a cello concerto, and a concerto for guitar. His orchestral works include overtures to 12 plays by William Shakespeare, many of whose sonnets and poems he set to music. He composed two Shakespearean operas, The Merchant of Venice (1961) and All’s Well That Ends Well (1957). His chamber music is scored for a variety of combinations; his piano pieces are conceived as miniature symphonic poems; his songs retain the
melodiousness of the Italian school; and his harmonies are opulent and often complex. He comosed a suite for guitar on the poem “Platero & I” by Juan Ramón Jiménez.

Elías León Siminiani was born in 1971 in Santander, Spain. He is a director, known for Mapa (2012), El premio (2010) and Digital (2005)

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