Adrian Limonota and Jóse Carrión in Cutumba's Estampa del Carnaval Santiaguero.

Guest artists for Philadelphia's second Festival Cubano, Ballet Folkorico Cutumba from Santiago, Cuba performed for two nights at the International House. Cutumba is one of the few Cuban companies that were granted entry visas and Festival Cubano was able to proceed with the group's performances, workshops and lectures.

For over thirty years Cutumba has researched, preserved, performed and sustained the traditional music and dance from the Eastern Oriente province of Cuba. The Haitian, French, African and Cuban traditions are woven together and form a distinct tapestry of dance and song. The musical, dance and theatrical talents of the twenty member ensemble proved to be impressive

Adorning the entry way to the theatre and inside were wall-sized images of Cutumba photographed by festival director, Laurence Salzmann. In spite of little publicity due to program rescheduling, the small theatre was 3/4 full. A beautiful, hand-painted backdrop of a deity filled the middle of the stage.

Opening the program was Philadelphia's Kulu Mele African American Dance Ensemble. Dressed in bright purple tops and pants and with choreography by director Dorothy Wilke and Reynaldo Gonzalez, the six women danced to Babalu-Aye, the Santeria deity who owns the world and is associated with diseases and healing. Accompanied by percussion and vocals, their movements were clean and fluid. The batas, sacred drums used for ceremonies, would speed up, influencing the intensity of the dancer's movements.

A smooth transition was made as singers Raphael Cisnero, Berta Armiñán and Ernesto Armiñán and Cutumba musicians took the stage to call the Procession of Kings. Danced for Dia de Los Reyes (Epiphany) in January, the folkloric dances are of Yoruba origin from Nigeria. Selected dancers performed dances of the orishas –deities in the Santeria religion. Whether it was the furious dance of Chango–owner of the sacred drums and lightening–or the playful and teasing dance of Ochun–goddess of sweetness and owner of the river's waters–the dancers displayed great agility, emotion and strength in their movements. Especially fervent was Yordanka Michel dancing Oya, the gatekeeper of the cemetery. She twirled in her rainbow-colored skirt and would suddenly stop and yell as if to ward off trespassers.

After a stirring sacred song to the deity Ochun by Raphael Cisnero, Cutumba was called to the stage by a conch shell being blown to dance gaga. This energetic folkloric piece once danced in the slave quarters has religious roots in Haitian Vodun. Whistles, large flag waving, machete tossing and bright, swirling skirts of blue, red, yellow and white were part of the fast-paced spectacle. Couples flirted and danced sensuously with one another, jealousy arose and was quieted while the drumming and singing intensified. A table was brought to center stage and Rachel Salas Vega jumped on top of it, dancing and twirling two machetes. Four of the male dancers each picked up a corner of the table in their mouths, with the Vega still on top, and turned in a circle. She jumped down and props were brought and added to the table top. Reinaldo Babastro at first failed and then succeeded in lifting the table in his mouth and balancing the towering additions. The audience roared in appreciation as he carried the table off stage.

The second half included tajona, rumba, cuateros and a grand finale depicting Carnaval in Santiago. Tajona is a dance introduced in Cuba by the Haitian slaves that emigrated with their French masters after the Haitian Revolution. This dance emerged as a way of coping with the brutal work conditions of the slaves breaking down coffee pulp. Though the couples began to dance and flirt in a leisurely manner, the dance soon evolved into a energetic, friendly competition between two groups joking with each other. It ended with leaping, turning and twisting as frenzied rhythms accompanied graceful and amazingly coordinated entwining of colorful laces that hung from a tall pole by the dancers.

Dancers of Cutumba in Estampa del Carnaval Santiaguero.

In contrast, the company danced Ciclo de Rumba, a secular choreography of rumba with origins from former slave quarters on the Western side of the island. Three of the main styles of rumba, yambú, guaguancó and colombia were performed. Yambú, an older and slower version of guaguancó was danced by principal Jóse Carrion and Maura Isaac. In a lively guaguancó, with the thrust of a pelvis, touch of a hand, or wave of a handkerchief, the men attempted to 'impregnate' the women, who would quickly turn away, or use a scarf or hand to block any such possibility. One audience member was so taken he made his way onstage, where the dancers, in their professional manner, welcomed him as if he were part of the show. Colombia, a men's dance, was performed by Adrian Limonota, Sergio Hechavarría and Renialdo Babastro, competing with their fancy footwork and furious shaking of their shoulders.

Cutarereos Rítmicos brought the entire company onstage. Wearing wooden sandals or chancletas with a single strap, the dancers would respond with their own foot percussion to the call of the drummers. High pitched tones, rapid turns were adeptly danced in this lively folkloric piece.

The evening climaxed with Estampa del Carnaval Santiaguero, a celebration of carnival in Santiago. Each July, neighborhoods have their own conga or ensemble that dances and plays in the streets during Carnival. Accompanied by furious drumming, campanas (bells) and the trompeta china (Chinese coronet), the men danced onto stage with large caps and large, colorful capes as they wove around the women dancers. Dressed in bright, frilly tops and pants that showed bare midriffs, the women would shake their shoulders and make cinturas (literally waists), the sensuous movement of waist and hip circles. Soon, the musicians lead the dancers off the stage where the audience jumped up to join in, dancing with Cutumba as the conga was lead back onto the stage.

What continues to distinguish Cutumba's performances is not only the high caliber of each individual dancer and musician but their professional, exuberant and heartfelt execution of each repertory piece. There is not one among them onstage that is ever out of character or unbelievable in the role they are performing. Excellent artistic directing and choreography are also key to this noted ensemble's success. Bravo!

Review and photos ©2002 by Julia Sewell
No reproduction of any kind without permission.
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