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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Feb. 23, 1999)
Revolucion demusica Ryan Soderlin/DN GABRIELA RODRIGUEZ (LEFT), 14, Yolanda Rodriguez, 13, and Sasha Chavez, 18, all of Omaha, play the violin at the Virgin of Guadalupe church hall Saturday night. These young people and others learned about Mariachi music and performance all day Saturday and then put on a performance that night. Omaha group carries on mariachi culture By Jason Hardy Staff writer During the Mexican Revolution of 1910, encroaching foreign investment and the severe exploitation of Mexican land owners almost wiped out a country’s heritage. However, a man named Emiliano Zapata enlisted the help of his fellow countrymen and fought to defend the Hispanic culture’s livelihood. And while the Mexican revolution has long since passed, the struggle to save Hispanic heritage still continues throughout North America, including Omaha. This time around, however, the defenders come armed with music. Over the past ten years the Mariachi scene in Omaha has been growing in size and in quality. At the 1 helm of this revival are the members of Mariachi Zapata, one of the Midwest’s premier Mariachi groups. On Saturday, as part of the group’s continuing effort to rejuvenate inter est in Mariachi music among area youth, the band acted as a host at a musical workshop to aid in under standing both the method and the sig nificance behind the music. “Mariachi music is functional in terms of keeping culture alive,” said J. Ramon Hernandez, who plays the guitaron, an instrument similar to the bass, for Mariachi Zapata. “When you have a culture that is alive and flour ishing, you have a culture that feels good about itself. “For that you need to have the children understand that this is a part of you and you need to appreciate it.” Hernandez, who proudly recalls listening to his parents and uncles play the music he now passes on, said children today don’t have that kind of exposure to Mariachi music, so it’s up to older generations to keep it alive. And so far, they are. Miguel Gutierrez, violinist for Mariachi Zapata, is the director of Omaha’s student Mariachi group, Mariachi Estrellitas. The group has been offering musical experiences to younger generations through prac tices and live performances around the Omaha area since 1990, and Gutierrez said it’s been great to see younger people getting involved. “Mariachi music is a true symbol of Mexican culture because it’s ours. It exists all over the world but it’s def initely Mexican. It doesn’t get more Mexican,” Gutierrez said. “It’s impor tant for young people to get in touch with that because it seems like, espe cially in the United States, a lot of that culture is being lost.” Ryan Soderijn/DN RAMON HERNANDEZ PERFORMS Saturday night. Hernandez, a member of Mariachi Zapata, and other professional mariachi performers taught young people how to play and perform mariachi music ail day Saturday. Prior to the formation of Mariachi Estrellitas, opportunities to learn about Mariachi music were few and far between. But a community grant from the Nebraska Arts Council in 1990 gave Omaha’s Mariachi move ment a much needed boost. With that grant, Mariachi Estrellitas was born and so was the Cuicacali Centro De Arte, an art cen Please see MARIACHI on 10 ‘Childe Byron’ captures both sides of historic poet By Liza Holtmeier Senior staff writer Lord Byron was a womanizer, a rake and a poet. And in “Childe Byron,” he’s also a father, a husband and a son. The play, produced by the Department of Theatre Arts and Dance, explores some of Byron’s lesser known roles. It continues showing tonight through Saturday at the University of Nebraska-Lincoln. “Childe Byron” begins with Ada, Lord Byionls only legitimate daughter/' writing ttef^viilas she suffers through the last stages of cancer. Plagued by the bitter memory of her father, she summons his image to life. During the first act, the two confront Byron’s past to find the source of his lecherous lifestyle. And Act II explores the ill-fated marriage between Byron and Ada’s mother. With its multifarious layers and con flicts, the play engages both the intellect and the emotions. Ada and her mother are played by the adept Moira Mangiameli. Mangiameli, who has been playing emotionally charged character since % she came to UNL, vacillates easily between biting anger and aching sad v » » » , n i ' vi Min m ness. One moment, she’s the bitterly resentful daughter. The next, she’s the confident, coy, manipulative wife. Mangiameli provides the play with intelligence and wit, but also with humanity and pain. Her voice is effused with the richness of the British accent, yet she avoids the stuffy, aristocratic tone actors can be so susceptible to. Her Ada and her Lady Byron seem natural and human; and she plays drama and comedy with equal skill. Jude Hickey takes a crack at the leg endary Lord Byron. On Friday night, Hickey took a while to warm up tolhe part In his apiJipach to the mythic man, t Hickey seemed to overplay Byron’s M '' r ''<*•* * t t '< t >»' cheeky attitude and sexual potency. Rather, than emphasising ^yrpjl’s humanity,.Hickej; succumbed to fr. cliche of the man. By Act n, Hickey appeared a little more comfortable in the part. His best scene was during Lord Byron’s victim ization by his fans and wife. At this point, Hickey achieved the perfect bal ance between Byron’s cocky yet inse cure nature. His body relaxed into Byron’s haughty stance while his voice calmly decried his rough treatment. The play is carried by director Patricia Behrendt’s staging. Behrendt creates beautiful pictures on stage, infusing the play with energy and pas f » -. i i .... * ■ ■ i _' • : : I ’ ’ 1 Please' see BYRON on>lO Theatre Preview mncts What: "Childe Byron” Where: Studio Theatre, Temple Building, 12th and R streets When: 8 p.m. Tuesday through Saturday Cost: $6 for students, $9 for faculty/staff/senior citizens, $10 general admission The Skinny: Play takes a contemporary look at a historical figure-Lord Byron
