lunes, 24 de junio de 2013

Spanish Spelling Bee: Adults compete in annual literacy

Photos by Lucía Camargo Rojas

By Lucía Camargo Rojas

Agustín Martínez and Ana Arévalo arrived ready to do battle at last Monday night’s Spanish-language spelling bee organized by the literacy organization CENAES.

Martínez, a D.C. taxi driver originally from El Salvador, won top honors in last year’s contest, which also tests the progress made by area Hispanic adults who are learning to read and write in Spanish.

Like many fellow competitors, Martínez never had a chance to complete his education as a child, a legacy of illiteracy that’s also made it more difficult for him to learn English as a second language.

“The problem is that when you don’t know how to read and write in Spanish, you learn a lyric English,” he says. “You are like a musician who learns to play without music notes.”

He failed several English classes at the Carlos Rosario International Public Charter School until his ESL teacher sent him to Mario Gamboa, director of CENAES, which stand for Centro de Alfabetización en Español (Spanish Language Literacy Center).

“Gamboa´s classes help me to open my mind. I didn’t know about adjectives, predicates, pronouns, prepositions, verbs, present, past or conjugations,” says Martínez, who has now finished six out of eight levels of English classes, an achievement he credits to his Spanish grammar lessons in the last two years.

So the taxi driver, who hopes to study law one day, was feeling pretty confident June 17 when he arrived at CentroNía to defend his CENAES spelling bee title.


“If you want the crown, you have to fight for it,” Martínez told Arévalo before the contest. “Let’s fight,” she replied. And they did fight. In fact, they spelled so many words correctly that members of the jury had to resort to a backup list of derivative words to keep the competition going. Eventually, though, Martínez missed a word and Arévalo, an aspiring nurse also originally from El Salvador, emerged victorious.

“I knew that I was going to win,” she said as she received her trophy.

In all, there are the nearly 24,000 “Limited English Proficient” individuals living in Washington D.C., according to the Migration Policy Institute’s analysis of the U.S. Census Bureau’s 2009-2011 American Community Survey. The group estimates that more than half, or 13,700, are native Spanish speakers.
But Gamboa estimates there may be as many as 50,000 functionally illiterate Hispanics in the greater Washington region.

He says he first learned of the problem a decade ago when he worked in the construction industry. One day, he left his workers a note in Spanish with detailed instructions. When he returned and they hadn’t done anything, he says he was stunned to learn the reason: They couldn’t read or write. He started giving free Spanish classes after work and now directs a non-profit that has helped hundreds of local residents over the last decade.

There is a wealth of academic research showing that knowing how to read and write in one’s native language makes it easier to learn a second language. And Gamboa says his experience as a teacher suggests the opposite is also true: Hispanics without a grasp of how to read and write in Spanish struggle when it comes to learning English.

“We try to teach students Spanish first, and then we send them to other institutions that teach English,” says Gamboa, whose center offers basic, intermediate and advanced classes at several places around the Washington area including the Carlos Rosario International School, Meridian Public Charter School, the Latin American Youth Center (Centro Latinoamericano de la Juventud), and the Salvadoran Consulate.

Like Martínez, students are often referred to the Spanish literacy program by their English teachers. Ryan Monroe, principal of Carlos Rosario International Public Charter School, explains that when his English teachers notice Spanish speaking students struggling with their English, they often ask them how much formal education they had in their home country.

“If they hear that they didn’t finish high school or elementary school, they recommend they enroll in Spanish classes,” says Monroe, whose school offers literacy courses in Spanish as well as the “Plazas comunitarias” program, a partnership with the Consulate of Mexico that allows Spanish speakers to complete elementary and middle certificates in their native language.

Gamboa founded the Spanish spelling bee in 2006 as a fun way to end each academic year. The contest is modeled roughly after the Scripps National Spelling Bee that brings to Washington hundreds of youngsters from around the United States each year. The Spanish-language contest, however, is geared toward the goals of its adult contestants such as encouraging students to take the General Educational Development (GED) exam in Spanish, an equivalent to a high school diploma.



Carlos Rosario School offers the GED classes to 200 students per year. When the students finish their GED and come back to finish their English as a Second Language classes, they will learn English a lot easier and a lot faster because they will have strong skills in their native language, according to Monroe.

Ana Arévalo is studying for the GED in Spanish exam as one step toward eventually becoming a nurse.

“First I have to take the GED in Spanish. Then I have to take English classes,” she said.

She says when she started at CENAES, she didn’t know that a sentence starts with a capital letter and ends with a period, or where to put an accent or a comma. “I’m glad because now I can teach my daughters,” she said.

These days Arévalo is always practicing English, as well. She reads the signs around the city and uses her cell phone to learn their meanings and the pronunciation. She is confident that in the end she will master the language. After all, she already won the Spanish spelling contest. That was the first step.

Published in Hola Cultura on June 20, 2013

sábado, 8 de junio de 2013

Review: 'Teacher in The House: A True Tale of Urban Survival'

By Lucía Camargo Rojas

“Teacher in The House: A True Tale of Human Survival” is a funny, emotive and biographical one-woman play that explains actress Susan Jeremy’s decision to teach children with life-threatening illness at their homes. The show, presented at Theatre 99, is part of the Piccolo Fringe series.

Successfully performing 10 different characters, Jeremy tells four interweaving stories: her childhood memories when she was a student, her experience as a public school teacher, her own cancer treatment and her role as an educator.

Without any effort or intermission she performed distinctly different characters, such as a policeman and a kid with attention deficit disorder. Her acting was so compelling that only with the tone of her voice, a movement, an attitude, it was clear when she changed from one character to another, and when she shifted to a new scene.

Most importantly, she was able to describe regular life and the peculiarities of each character and each environment, prompting laughter throughout the performance. Two of her funniest descriptions were about the Hispanic neighborhood in New York City, where people are so warm everyone is half-naked, and about how she won the respect of her 7th grade students when she taught them about drugs, including illegal ones.

Those funny moments, though, were a kind of an introduction to the most difficult part of the performance, when she shares her experience with cancer and chemotherapy. Up to this moment the pace of the storytelling was quick and the mood festive. But once her character is coping with illness, the performance became more reflective.

Jeremy clearly took a risk in this show: She wanted to discuss her breast cancer fight with humor. Remarkably, she achieved that goal and simultaneously paid tribute to the teacher helping others face similar battles.

Between jokes, she signaled the importance of helping children struggling with illness, avoiding sentimentality and pity. She rightly chose the perfect way to convey her message: with laughter, lots of laughter.

Published in The Post and Courier on June 7, 2013

Q&A with Nathan Durfee


By Lucía Camargo Rojas

The original canvas of this year’s Piccolo Spoleto poster is being exhibited in “Tales Transposed: A Celebration of Imagination”. It is called “Bartholomeux Taken by the Piccolo” and was made by the artist Nathan Durfee.

Durfee agreed to talk to The Post and Courier about the meaning of this image.

Q: How did you end up doing this year’s Piccolo Spoleto poster?

A: Rebecca Gosnell, who is affiliated with the Office of Cultural Affairs, was a big fan of my work and approached Ellen (Dressler Moryl). Rebecca dropped my work (off with) them, and they thought it could be a good match for the festival. They told me: “Hey, we love this Bartholomeux character, and we want to incorporate it into this year’s Piccolo poster.”


Q: When did you start drawing Bartholomeux?

A: I came up with the dog Bartholomeux about two years ago. What is interesting about him is that he has this affiliation with the cardinal birds, and I have done a whole series of cardinals, where each cardinal has its own personality.


Q: What is the idea behind “Bartholomeux Taken by the Piccolo”?

A: I thought it would be interesting to have Bartholomeux embodying the festival where the cardinals represent all the individual performers. If you look at the poster, you will see that one cardinal is an opera singer, another one is a musical conductor, another a guitar player and so on.


Q: What is the role of Bartholomeux in the poster?

A: He is like a leader of the other artists, which is like what all festivals are about. If you bring all of these different performers and artists together, it is more than just the individual parts.

Published in The Post and Courier on June 4, 2013

Review: Tales Transposed, art at City Gallery


By Lucía Camargo Rojas

The infinite possibilities for telling stories through sculpture, painting and collage are evident throughout the Piccolo Spoleto arts exhibition “Tales Transposed: A Celebration of Imagination.” But Nathan Durfee’s work catches more than its share of attention, demonstrating why he deserves the entire first floor of the City Gallery at Waterfront Park.

Durfee is a magician of contrasts. Complementary colors as well as characters harmonize in his work as if they were made for one another. The 24 bright canvases clearly show his desire to depict an understanding between characters from different worlds.

The main character in this series, the dog Bartholomeux, plays the flute or a record player in order to speak the language of the cardinal birds. In the outstanding canvas “Bartholomeux Swallowed in the Red,” the dog is delightfully surrounded by several birds to the point where the two species seem to become one.

Durfee’s strongest tool is his ability to use his background as an illustrator to paint colorful canvases that tell a story. Seeing several of his paintings becomes a reading experience that makes you want to organize Bartholomeux’s transformation chronologically. Durfee’s imagination captivates from beginning to end. Comparing his first pencil drafts with his finished works gives a sense of how this remarkable artist develops his ideas.

The exploration of stories continues on the second floor of the exhibition, with the collages of Lillian Trettin and the sculptures of Judy Mooney.

Trettin’s work is risky. She carefully cuts handmade, hand-painted and commercial papers, then reassembles the pieces to create satirical and colorful scenes based on Flannery O’Connor novels. Some of her pieces are extremely powerful, like “Jesus Was the Jagged Shape in the Back of His Mind” (2012), inspired by O’Connor’s “Wise Blood,” while others lack some energy.

Mooney’s pieces depict the stories of Gullah-Geechee people through rustic clay sculptures that respectfully evoke an ancestral knowledge. The artist’s research into Gullah traditions is evident in the compelling architectural pieces that seem to keep a secret that one would like to find.

Published in The Post and Courier on June 4, 2013

lunes, 3 de junio de 2013

Video: Ballet Flamenco de Andalucía

Haga click en la imagen para ver el video

Por Nick DeSantis y Lucía Camargo Rojas. Publicado el 2 de junio de 2013 en The Post and Courier

Rubén Olmo, director artístico del Ballet Flamenco de Andalucía, explica el significado de su obra "Noche Andaluza" que se presentó en el Festival Spoleto 2013. /Rubén Olmo, Ballet Flamenco de Andalucía artistic director, explains the meaning of  the show "Noche Andaluza" performed in Spoleto Festival USA 2013.

Art of Recovery: Coping with mental illness


Image by Vinny Y. Huang/ Special to The Post and Courier

By Lucía Camargo Rojas

In the first of two Brent Ashley paintings at Circular Congregational Church, the artist is depicted as an abstract figure trying to balance seven red stars. The second, more realistic piece features bigger stars that are delicately placed to harmonize with Ashley’s more energetic body.

“In the first one, I’m confused and tired,” he said of the two works. “In the second one, I’m part of my present rather than disconnected from it.”

They represent two very distinct periods in Ashley’s life: before and after he began to be treated for Bipolar II disorder. They are among the 92 paintings shown in the “The Art of Recovery” exhibition, part of the Piccolo Spoleto Festival.

The exhibition, which was organized by the South Carolina Department of Mental Health, features artwork by people living with mental illness who use painting as a therapeutic tool, often because they were already interested in art.

The Department of Mental Health treats 100,000 patients a year in its 17 state centers, some of which have multiple clinics. Three centers — Greenville Mental Health Center, Coastal Empire Community Mental Health Center and Aiken Barnwell Community Mental Health Center — offer art classes.

Brian Marks was a mental health patient in the late 1990s and now is an art teacher in the Greenville office. Some of his pupils are among those exhibiting their work in “The Art of Recovery.”

“Psychotherapy can help heal the mind, but art takes a step further and helps to heal the soul as well,” Marks said.

The Art of Recovery program, which received the 2006 Elizabeth O’Neill Verner Governor’s Award for the Arts, frequently looks to exhibit these paintings in settings beyond the department’s administration buildings. Sue Perry, director of community resource development at the Department of Mental Health, said being part of Piccolo Spoleto was a dream come true for both staff members and artists.

Perry has been in charge of the program since its beginning in 2001. She believes that when patients show their art in public, their illness becomes secondary and they can see themselves first and foremost as artists.

For the festival, the Art of Recovery committee selected pieces related to recovery and hope. They also tried to include different painting media to show the diversity of artwork produced throughout the state.

All of the artists involved have stories related to their mental health struggles, Ashley said.

“There are a lot of things that people who have the illness don’t understand,” he said. “On this side you are sane, and on the other side you are crazy. You are walking on a tightrope between it.”

In cases like these, Marks said, art becomes an opportunity for people to express themselves when words may fail them.

Ashley believes that art helps him get control of his thoughts. “I went from being a college graduate to sleep as a homeless man in Arizona because I didn’t want to confront who I was,” he said.

But after undergoing therapy and getting back to his art, he began to believe in himself again. His hope is represented by the green hands in both of his current pieces — and especially by the second one, which clearly depicts someone looking toward the future.

Published in The Post and Courier on June 2, 2013

Flamenco dance writ large: Esteemed company to light up arena stage


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Image by Miguel Ángel González. Especial for The Post and Courier

By Lucía Camargo Rojas

When the Spanish flamenco dancer and choreographer Ruben Olmo is on stage, he feels as though he’s spread his wings and started to fly. He believes in Nietzsche’s premise that dancing is a metaphor for thinking.

In “Noche Andaluza” (“Andalusian Night”), his first piece of choreography as artistic director of the renowned Ballet Flamenco de Andalucia, Olmo shows how dancing gives wings to body and mind. The Spoleto Festival show opens tonight and runs through June 2.

“Noche Andaluza” is an adaptation of “Metafora” (“Metaphor”), which was selected in a 2011 Spanish public competition as the production that would begin a new era for the company after it had been closed for two years.

The 17-year-old Ballet Flamenco de Andalucia is a state-sponsored company of Andalusia, Spain, that keeps alive the flame of large-format flamenco and Spanish classic ballet, according to the flamenco writer Juan Vergillos.

“With Olmo’s direction, the company has acquired youthfulness, new ideas for the choreography and a personal understanding of flamenco and Spanish dancing,” Vergillos said.

Olmo, 32, said he has been more or less in constant movement since he was 9, and that he has never limited himself to one style of dancing.

“Noche Andaluza” certainly showcases traditional flamenco — castanets, fans and bata de cola dresses — but it also depicts a more avant-garde style represented in the solo of one of the most important contemporary flamenco dancers, Pastora Galvan.

The production marks Galvan’s first performance since having a child. At the beginning, she didn’t feel in shape for the rehearsals; even the bata de cola was very heavy for her, she said. But “Noche Andaluza” quickly rejuvenated her. “I added my art, my picaresque and avant-garde dancing style and all my heart.”

Olmo and Galvan have studied together since they were children.

“We are like siblings,” Olmo said. “It has been a dream come true to have her as a guest while I’m directing.”

“Noche Andaluza” has everything you would expect in a flamenco ballet, according to Vergillos. “Charleston audiences probably will find it very eye-catching, showy and colorful,” he said, and it’s an unusual opportunity to see Galvan in collaboration with the group; she typically dances only for her own company.

“There is no tragedy or drama in Olmo’s choreographies,” Vergillos said. “He adds color and balance. He has a soft vision of a whole universe.”

“Metafora” has been performed in Greece, the U.K., Ecuador, Mexico, Colombia and several American cities, including Boston, Washington, D.C., and New York. This is a huge achievement for a company that prepared the production in just a month and a half, and with a reduced budget due to the current economic crisis in Spain.

“I had to adapt to the situation and to make this an artistic experience without much budget,” Olmo said. “At the end, we got good results.”

The 10 young dancers, who were selected from 400 candidates through public auditions, had to learn various dancing styles. But despite these different styles, Ballet Flamenco de Andalucia’s name gives a clear indication of Olmo’s main concern.

“Flamenco is a brand that we cannot mistreat,” he said.

Published in The Post and Courier on May 31, 2013