{"id":880,"date":"2020-05-05T00:49:57","date_gmt":"2020-05-05T00:49:57","guid":{"rendered":"https:\/\/expo.calarts.edu\/2020\/?page_id=880"},"modified":"2020-05-14T10:35:13","modified_gmt":"2020-05-14T10:35:13","slug":"juan-antonio-rivera","status":"publish","type":"page","link":"https:\/\/expo.calarts.edu\/2020\/juan-antonio-rivera\/","title":{"rendered":"Juan Antonio Rivera"},"content":{"rendered":"
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Juan Antonio Rivera<\/h1>\n\t\t
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Alumni - Music<\/h3>\n\t\t<\/div>\n<\/div>\n<\/div>\n
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F\u00f8rg\u00f8tten – A Contemporary Ballet for the Soul.<\/h3>\n
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This art performance is about social justice in the 21st century, bringing to light the reality that our society now lives with police brutality. Many of my family members have had to have the “police” talk, “hoodie” talk, or “walking-out-late-at-night” talk with their teenagers, warning them that because of the color of their skin they will be seen as dangerous. This is a world where teenagers cannot be themselves and grow up at their own pace. Rather, society prohibits a naturally safe environment for them to grow up without fear.<\/div>\n<\/div>\n
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\nPeople of our generation are experiencing a phenomenon unlike any other. In the age of handheld technology, there are more and more frequent accounts of police brutality being publicized all over social networks. What began with the devastating events of the Rodney King incident has become commonplace for our generation of artists. As a collective of artists, we want to tell a narrative of our feelings about the past, present, and future of growing up in this American dystopia.<\/div>\n
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Themes:
\nDance, Ballet, Poetry, Surrealist space, Nightmares, Afro-futurism, Outrage, Embodiment, Introspection, Healing, Reconnecting, Community, Contemplation, Empathy, Compassion, Rebellion, Activation, Awareness, Awakening, the Future is Female, and the Future is Mixed.
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\nFeaturing music by:<\/p>\n

Elliot Cook Carter, Jr. (b. December 11, 1908-d. November 5, 2012) was an American composer who was a two time Pulitzer Prize winner.\u00a0 He was the son of Elliot Carter, Sr., a wealthy lace importer, and the former Florence Chambers.\u00a0 As a teenager, he received musical encouragement from another American composer and insurance salesman, Charles Ives. Ives, in fact, sold insurance to the Carter family.\u00a0 In the 1930s he studied with Nadia Boulanger in Paris and then returned back to the United States. He originally had works that were more neoclassical in flavor, but his style shifted to emphasize rhythmic complexity and\u00a0atonality. His works include all types of instrumentation such as orchestral, chamber music, solo instrumental, and vocal works.<\/p>\n<\/div>\n

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05:50 “Esprit rude, esprit doux” by Elliott Carter
\nJuan A. Rivera, flute
\nErnesto Cruz, clarinet<\/p>\n

32:35 “Enchanted Preludes” by Elliott Carter
\nJuan Antonio Rivera, flute
\nErika Duke-Kirkpatrick, cello<\/p>\n

Luciano Berio, Cavaliere di Gran Croce OMR (an Italian knighthood title) (b. October 24, 1925-d. May 27, 2003) was an Italian composer. Born in Oneglia, he was taught piano by his father and grandfather, who were both organists.\u00a0 During World War II, he was conscripted into the army but injured his hand learning how to work a gun. Following the war, Berio studied under Giulio Cesare Paribeni and Giorgio Federico Ghedini at the Milan Conservatory.\u00a0 Unfortunately, Berio could not continue to study piano performance due to his hand injury, so he decided to concentrate his musical efforts on composition. He was known for his experimental work as well as his pioneering work in electronic music.\u00a0 In fact, Berio is credited with the first electroacoustic composition in the history of western music made with
\nvoice and elaboration of the voice with technological means.<\/p>\n<\/div>\n

\n20:40 “Sequenza I” by Luciano Berio
\nJuan A. Rivera, flute
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Part 1<\/p>\n

Our Composition begins with “THE CYCLE,” which is told in two sections comprised of poetry, videography, choreography, acting, costumes, and\u00a0contemporary music from Elliot Carter’s “Esprit rude, esprit doux” for\u00a0flute and clarinet.<\/p>\n

Part 2<\/p>\n

To begin our tribute to the female victims of police brutality, “Say My Name” is a call to feel the pain of these losses through diction and enunciation of these women’s birth names. The soloists explore the life of being a victim, a survivor, a mother, a grandmother, a daughter.<\/p>\n

Part 3<\/p>\n

In the third section, we decided to focus on the victims’ families and their need for healing. We consider this our healing section. In “At your last,” we express the hope that the victims had a final exhilarating moment of feeling loved by another person, whether it was their mother, husband, daughter, or grandmother. That although the world was crushing them, they still have that powerful memory of love. Being loved.<\/p>\n

Part 4<\/p>\n

The piece culminates in a scene where newly turned humanoids have solved the human dilemma of prejudice. Our society cannot hide its shameful past trespasses by encaging, imprisoning our family of color. The deluge, the chaos, wake up. Improvisation erupts.<\/p>\n

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Created & Directed by
\nJuan A. Rivera<\/p>\n

Choreography by
\nAngelica Mondol-Viana, Joye Forrest, & Elizabeth Geocaris<\/p>\n

Poetry by
\nJamila Reddy & Taireikca Glover<\/p>\n

Videography by
\nSarah Van Sciver<\/p>\n

Video editing by
\nSarah Van Sciver<\/p>\n

Costume design by
\nBeryl Brachman<\/p>\n

Dance Soloist
\nMatthew Kuang, Joye Forrest, Elizabeth Geocaris, Ellen Edwards-Siess, & Angelica Mondol-Viana<\/p>\n

Dance Ensemble
\nEllen Edwards-Siess, Joye Forrest, Elizabeth Geocaris, Matthew Kuang, & Angelica Mondol-Viana<\/p>\n

Future-Beings acted by
\nDionna Daniel & Henita Tello<\/p>\n

Public Awareness Actors\/Walkers\/Crowds acted by
\nDiana Cioffari-MacPhee, Ruth Odukoya, Natalie Perez, & Jordan Terrel<\/p>\n

http:\/\/Facebook.com\/Bariflute<\/a>
\nhttp:\/\/Instagram.com\/Bariflutela<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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