Indie-soul songstress Eleanor Dubinsky combines sultry, jazzy vocals with global pop to create hot original music with international appeal. Her music fuses French pop, canto nuevo and new American soul, using multiple languages and global rhythms to tell a story that is personal and universally accessible. Based in New York City she performs her original music throughout the New York City area, the United States and internationally.
In addition to singing, Eleanor plays cello, guitar and hand percussion. She writes in English, French, Spanish and Portuguese and her international background and ease with many languages and cultures enhance her personal appeal as an artist to people from all over the world. Eleanor independently released her debut EP “Us” in May 2009 and is currently finishing her debut LP for release in 2010.
Athens based artist, Georgia Kotretsos is the editor-in-chief of Boot Print, a contemporary art publication published by Boots Gallery. For the next two weeks Georgia will be the guest blogger on Art 21.
[I] condemn all forms of violence and vandalism and I have been firm on this since the very beginning. Yet in a cloud of ambiguity the media, a political party and many civilians justified the mayhem and fed its appetite. A state of simmering pandemonium stamped this holiday season and with no further delay, a bloody dialogue was set in motion in the early hours of January 5th, 2009. Thirty Kalashnikov shots were fired towards three policemen who were guarding the Ministry of Culture. The gunmen sealed the attack with a grenade. A 21 year-old policeman was wounded and still remains in critical condition.
Both shootings took place in Exarchia, in downtown Athens. When asked about January 5th, a middle-age female resident of the area said with confidence to a news reporter “I heard Kalashnikov shots been fired.” Who can distinguish the type of a gun by its shots in the middle of the night in Athens? The death of the student has sparked the worst riots for decades, which escalated to be a sociopolitical vendetta. Is this a society of an eye for an eye?
Why is this all happening? For way too many reasons that go too far back, but most importantly because the Greek gluttonous government in power since 2004 is digging a hole and inviting us all to jump in. For the last 18 months, new scandals make weekly headlines, there isn’t even enough time to react in between – the lethal combination of a corrupted government and a lethargic Prime Minister, Kostas Karamanlis, is what we’re left with at a time of severe economic stagnation, a chronic lack of meritocracy, an endless list of social injustices and continuous brutality towards protestors, which in this case were often teenagers, by the state.
How could I ever link this intro to the art postings I’ll upload from Athens for you in the following days? Maybe I can’t and maybe I shouldn’t and for that I have to say this now.
Art may echo this page of Greek contemporary history, but I’m not convinced it’s entirely necessary unless we’re willing to individually evaluate the role of art within the contemporary Greek society and further admit openly the kind of voice it has for each one of us, and then get on with our day. There is life after art and if artists are willing to react, or make a stand, they are not obliged to call it art – an artist is also a citizen. If anybody finds comfort in turning this into some careerist driven niche, I’ll personally stay away. An open dialogue that’s not addressed exclusively to the intellectual elite can be an initial answer to our racing thoughts[…]
Eleanor Dubinsky is a musician, choreographer, video and visual artist whose performances and installations create the experience of travel and a sense of immersion in the unknown. Eleanor’s work embraces and inspires imagination and explores our connections to our bodies and to one another. She is interested in expanding who gets to participate in art-making and wants to engage audience members in a sense of wonder, questioning and creativity about their everyday lives. To this end, she rehearses, installs and performs her pieces in public spaces such as train and subway stations, parks and storefront windows. Eleanor’s artistic roots are in music, beginning with classical cello at the age of three. Based in New York since 1999, she has performed and created in France, Poland, the Czech Republic, Argentina and throughout the United States.
be sure check out her myspace page to hear her awesome music…
Get on the Guagua
Eleanor’s pieces Fast Body (2007) and Get on the Guagua: a film about getting on the bus and around in general in Havana, Cuba (2006) were selected for the Danca em Foco International Videodance Showing in 2008, which will take place from August 7-24th at Oi Futuro, Rua Dois de Dezembro, 63/4º andar – Flamengo – Rio de Janeiro, Brazil. www.dancaemfoco.com.br
Eleanor will be in Turkey from July 12-29 participating in a week-long intensive workshop in music and dance improvisation with master teachers Julyen Hamilton and Barre Phillips, followed by a week-long performance residency in Cappadocia with the Paris-based dance and music collective Emma Jupe, of which she is a member. They will be developing and performing new work and performing daily for the local residents in public spaces.
my girl Gina Grafos will be featured on the front cover of zeek magazine’s april additon.
be sure to check her out.
Birth. Soul. Spirit. Death. All cycles of life are overlapped in Gina Grafos‘ life and in work. Raised in a Jewish, evangelical Christian, Greek Orthodox family, Grafos’ perception of belief was left quite askew. Her work now deals with the beliefs of others, with a preference for representations of faith whether relgious or philosophical.
I just submitted the work of Michele Feder-Nadoff, to the magazine I work for Zeek. Michele is a dear friend and a phenomenal artist, activist and educator. I thought it would be a good idea to share some information about Michele and to promote her organization the cuentos foundation.
Artistic Director, Michele Feder-Nadoff, who is Jewish, founded Cuentos in 1998 with the humanist vision and commitment to tikkun haolam, a Jewish principal expressing each person’s responsibility to play a part in “healing the world.” Cuentos members believe art is a transformative catalyst for effecting positive social change. Our work combats prejudice and discrimination through artistic and educational intergenerational projects and programs promoting mutual understanding.
The abundance of cultural wealth living doorstep to doorstep in our neighborhoods provide all of us an opportunity to engage with and learn about each others’ backgrounds. What connects us and how can live in peace together, connected by mutual understanding and appreciation of different cultures from around the globe?
CUENTOS PROGRAM OBJECTIVES:
To design programs that promote strong personal and cultural identity, as well as cultivate the ability to positively engage and communicate across cultures. We believe these are the keys for empowering youth, families, and communities with the capacity for participating in positive social change and mutual understanding.
To provide reciprocal learning/ educating of artistic strategies and art-making practices, techniques, traditions, such as copper-smithing, poetry writing & publishing, performance, curating.
To provide a safe, nurturing, extremely creative environment to test out ideas, performance, theater, music, a poem, or an exhibition idea in Cuentos’ storefront windows or space.
To empower through collective practices: A place to collaborate with others from similar and different backgrounds.
To make cross-cultural links and networks between groups.
To use art across disciplines to give projects a holistic and contextualized vision.
To develop the acquisition of transferable skills and knowledge: artistic, social, and cultural.
To provide an opportunity to express differences in cultural heritage, history, and traditions.
To act as an incubator for creating community connections and fellowship.
Ritmo del Fuego / Rhythm of Fire is a unique achievement, telling the story of the deep-seated copperworking tradition of Santa Clara del Cobre, an ancient community in the forested mountains of Michoacán, Mexico. What is often seen as “folk art” is shown to stem from early workshops established in Michoacán during the 8th-9th centuries AD, by coastal traders and artisans from the Andean Region of South America. Since then, the manufactures have included utilitarian and ornamental objects. Many have been recovered at archaeological sites, most notably from the 15th century Tarascan Kingdom. Others embrace forms of Spanish origin after the 16th century conquest. Today in the expanding international market, Santa Clara copperwares include a wide range of sophisticated decorative vases, pitchers, trays, dinner wares and related forms. A vital community has evolved with this ongoing tradition, portrayed with affection and care by the project organizer Michele Feder-Nadoff, and the many other authors in this remarkable, well written contribution to the cultural history of the Americas.
In her essay The Myth of the Latina Woman/ Just Met a Girl Named Maria, Judith Ortiz Cofer describes her Puerto Rican upbringing in a strict Catholic home in New Jersey, where she was taught to behave like a proper señorita. Cofer explains that the conflicting messages she received as a child, were those commonly propagated by Puerto Rican mothers. “They encourage their daughters to look and act like women and to dress in clothes that our Anglo friends and their mothers found to mature for our age.”
When the mere notion of latinidad equates passion and sexuality to gringos, why is it that Latino men are the first ones to point finger and to call these same women suelta (loose) or facil (easy)? Wouldn’t they understand? Have they not been subjected to the same treatment? Perhaps it is comes down to the way they were raised.
In the Latino culture ideas of masculinity and femininity are delineated very early on. Author Evelyn P. Stevens, first introduced this concept know as machismo and marianismo in 1973. Machismo grants supreme authority of the man over the woman. Under this doctrine women, who are considered to be morally and spiritually superior to men are able to endure abuse. They grow up expected to follow the sexual code of marianismo, and are submissive to the man’s authority.
Puerto Rican culture places women into one of two categories the virgin or the whore; mujeres de la casa (women of the home) or mujeres de la calle (women of the street). Una mujer de la casa, is expected to be pure, giving and compassionate. While, una mujer de la calle is considered to be sluty, wild, and dangerous.
The very presence of a woman outside the household implicates them in promiscuity and/or sexual misconduct. Puerto Rican girls learn this good girl/bad girl dichotomy most clearly in the recruitment into reproductive labor… A good girl cooks, cleans, takes care of younger siblings, and helps her parents. In contrast una muchacha de la calle is a transgressive women who has gone beyond patriarchal control whose sexuality is unbounded and therefore dangerous.
While in Puerto Rico this January, I had the privilege of meeting the incredibly talented video artist, Tamara Liz Rivera Boria. Tamara and I instantly bonded, finding similarity in the content of our work, and decided that we needed to collaborate.
I conducted a short series of interviews with her (documented with the camera from my laptop), where she describes her work as it plays on the screen behind her…
click on above image to view video
Interview with Puerto Rican Artist Tamara Liz Rivera Boria
Maya: Tamara, what can you tell me about muchachas de la calle and muchachas de las casa?
Tamara: De la casa and de la calle girls might as well be related. They exchange roles sometimes, de la casa girl wanting to be de la calle, and vice versa.
Maya: How has this affected you?
Tamara: I was raised in a catholic home, in a catholic school. I can tell you, I have been fucked up. I didn’t want to be told what to do, or what to believe in.How can you tell someone that using a condom is a sin? I had many issues over the years being raised like that. Even though my parents are not Catholic extremists. They were pretty easy going that’s how they could understand me or deal with me. Deep inside it made a mark, no matter how much I tried to live and understand the world. I became insane trying to understand other people lifestyle because indeed I might have been raised inside a bubble. I still am kind of in there, don’t wanting to look at how things really are.
Maya: What role does your cultural upbringing play in your work?
Tamara: Recently I made a video called él, baño de marîa. In this video I present various symbolism about religion, pecados (sins), sexuality, purity, faith among other things. Mainly because our culture has raised us thinking inside the box, controlling us with Christianity, especially Catholicism. Being pure, waiting till marriage although most don’t do it, is deep inside the mind. Like it is wrong to embrace sexuality.
Aglubium, is another video I made in collaboration with Ralph Vazquez and Rebecca Adorno. In this video I am drowning, or trying to kill myself by submerging my head in the water. It’s aggressive, and it’s beautiful. We just want to end, we don’t want to think. We don’t want to face fears. We don’t want to wait, we want to get it over. We want to drown our fears. We don’t want to face reality. Escape its what we do.
Maya: How do you escape?
Tamara: Most people (Puerto Ricans) use drugs. Puerto Ricans that do not use illegal drugs, use legal pills, alcohol or even coffee. Everyone has an addiction. It’s a shame but I have seen most of my friends doing drugs. I been there, I done that but I never had an addiction. My new boyfriend said I was an alcoholic, he didn’t believe me when I said I wasn’t. It wasn’t till he lived with me for over a moth when he saw that I didn’t drink for so long that he believed me, and with the cigarettes the same.
For some weird reason I can try things for as long as I want and not create any addiction. I wish it were the same with those that surround me. But in the arts almost all the people I know use some kind of drugs, are the ones that worry me the most are the most intelligent that keep using. I guess they are not that smart…
Maya: Is there an alternative to escape?
Tamara: I can see clearly that with true art I can make a difference, I can say what I understand to be real and important. I might help somebody. Other people just ignore what is going on (Puerto Rico). So many things had happen here, that demanded the people marching up the streets in protest, because our government is insane. But people don’t, they just “sit quietly”. They don’t want to get involved, they think they cannot change anything. They believe they have no power, when indeed I say, with all your power, what would you do? – I love that flaming lips song-
Maya: How does this affect Puerto Rican girls?
Tamara: Puerto Rican girls have many issues. Not only because of gringos (Americans) our identity issues extend into religion and the ways women are portrayed in the reggaeton culture. Girls want to be thin like gringas (American girls), they don’t like they’re beautiful curves, ass and tits. They always feel fat no matter how thin they are. I bet this happen everywhere, but these are issues we shouldn’t have.
Accepting ourselves, as we are its what we should do. Because we are not gringas! We are not blonde and white! But boys see these girls in TV, and everywhere and they expect girls like that. It’s the gringo media. I’ve forgotten all about this, but I also had these issues. I think I kind of still do, I just ignore most of the time.
Maya: You mentioned Reggaeton, what message do you think Reggaeton is sending to young women?
Tamara: Reggaeton is a part of that movement leads ladies to feeling less than the man, like he has to buy her. Girls learn to use their sexual power way to early with reggaeton. It is a confrontation for some, between what they like (reggaeton movement, lifestyle) and the religious foundation they might have. But since it probably was forced (religion) they escaped thru reggaeton. Ultimately ending in ugly situations.
Maya: Okay , I agree with you. But I am not going to lie, I love reggaeton… are you sure you don’t secretly like it?
Tamara: I don’t dig reggaeton; I see how girls embrace being just a piece of meat, especially high schools girls. How much is this necklace, like a million? Said a girl, the boy answered – no. The girl said – well then, work and buy me this necklace.
Yesterday I heard a senior girl say that to her boyfriend at a hotel, it was their prom. Girls parade in lil’ dresses, easily they could have been mistaken for high-class whores. I won’t even comment on the dancing. It has gotten worse, every time. Since parents are so young they allow they’re children to behave like this. I mean, I see a problem with these situations. Boys catch another boy,looking at their girls, no matter if its sexual or if they just passed and look because its simply there, they get all worked up and want to fight. What is that dumbass looking at? So basically, what, people cant look at each other now? Girls can’t stand if you look at them either. Puerto Rico was not like that; you went to the mall, smiled and people smiled back at you.
The reggaeton anger and sexual damage can be easily identified. Even kindergarten boys are sexually harassing little girls. My mom is a teacher and I have heard some stories. I haven’t analyzed reggaeton issues deeply; this is just for what I have seen.
Maya: Thank you for your insight Tamara, I can’t wait to see what you produce next. I hope we can collaborate together in the future.
Tamara: I know I could make more sense out of my ideas, since they’re not organized very well, but it doesn’t matter. This is just the beginning of many wonderful works to come, ideas to flow… I’m glad that I can collaborate with you.
“Everything that surrounds me, mi entorno, makes a part of who I am and what I say in my videos. Little by little its somehow implicated.”
As I begrudgingly stated in my interview with Tamara, I am a fan of reggaeton. Like most, I don’t even acknowledge the lyrics or really think too much beyond the beat of the music. Yet now I find myself wondering, are most girls conscious of the message? I guess to some extent they must be, after all as Tamara shared many sing the lyrics as they grind (rub up) on men.
In my research I found extensive commentary regarding the direction of Salsa and its implications on women in the Puerto Rican community. However, as it is relatively new form of music, the writing concerning Reggaeton seems to be incredibly limited.
I think reggaeton has been raunchy & explicitly all along, but I think the lyrics have reverted back to the “Reggeaton Sex” days of Underground. I think that “raunchiness” & degradation have become more mainstream & therefore are seen as less scandalous & more acceptable to society, so I think it has questioned our value as a community. The fact that Reggaeton outright refers to sexual references & acts & is accepted as mainstream Puerto Rican culture posing an interesting cultural issue for me. Now you can go to Puerto Rico and see young girls singing “dame con el palo, ” & they’re parents paying no mind to it, which I think is crazy. In the beginning of Reggaeton I found the lyrics to be much more raunchy, violent, & drug-related. Then mainstream Reggaeton came along, switched the “sexo” to “amor” & the “nenas” to “gatas.” I think these subtle changes in language allowed Reggaeton to be more successful in the mainstream, but now a lot of artists are moving back to the original lyrics because they already have a stable fan base. I mean, look at someone like Tony Dize, if you translated some of his songs into English, they could put even 50 Cent to shame with the blatant sexual references & degradation of women.
Perhaps reggaeton is so widely accepted by mainstream and popular culture, because it provides a free ticket to promote these concepts in a non-threatening form. If Puerto Rican women and other Latinas are fine dancing to this music, then what harm is there in gringos doing the same.
This then becomes representative of Puerto Rican culture. When a gringa dances to reggaeton she can purse her lips and grind on men, but without an attached stigma. She is just acting like a Latina girl. The Puerto Rican girls participating in this scene are aiding in the further perpetuation of the stereotype of Latina’s being easy.
However, as Tamara explained a lot of this has to do with a search for independence. Wanting to rebel against the forced restrictions of being una mucha de la casa, girls go to the furthest extreme to break down those barriers. But to what cost?
I myself am unable to provide a concrete solution. Yet I do think that one of the primary steps to forward progress is conversation. Tamara and myself have opted to publish the text on the web so that others may join in the dialog…