After working for several years for the musical comedy of Corrientes Street – to describe this naturalistic genre in a general way – choreographer Ricky Pashkus recently took a path towards country dances and land.
In 2015, the Federal Secretariat of Public Media entrusted Ricky Pashkus with the organization of the “Argentine Balla”, a competition for folk dancers from all over the country. in 2018 created chukaro awardTo promote commercialization of folk artists. And this year he launched “Germinart, an incubator of folkloric naturalistic projects.”
The program consists of a group of experts with an elaboration of selected choreographic projects. Selected choreographers will get a Training in Natyashastra, Music, Video Dance, Makeup, Costume and Lighting. These projects would not necessarily go on stage, as Pashku is interested in something else: encouraging the creation of folktales to form what he calls “cultural industries”.
Staff. Ricky Pashkus found a new world in folklore. photo juano tesone
One aspect to highlight is that this training will totally free To the participants, thank you for the patronage of the city government. Protection, let’s be clear, is a scheme of financial support for artistic projects by private companies in exchange for tax exemptions.
“Unlike festivals and folkloric awards,” says Pashkus, “which confer tradition and genuine privilege, Chukaro emphasizes on the concept of award show. My team and I think it’s important to work on the narrative aspects and set in dramatization; Although I know that “dramaticity” is a debatable term.
Why would this be a matter of debate? For a long time, stage expressions have been in the folklore of Argentina and those of so many other countries.
– What I am about to tell you is very personal. I do not come from folklore, but from a certain point I began to travel much thanks to them. And there is something that does not have a good resonance in the folklore environment: When a show of this genre is associated with commercial theater. However, Chukaro and Norma Viola managed to convert it without any cracks. It makes no sense to discuss Chukaro’s works, which are great for my taste, in terms of whether they are faithful to the original steps.
But on the other hand, we know that today there are folk groups that appear on international television shows and are criticized because they are believed to have broken certain barriers. I don’t know if I’m wrong, but I always tell dancers that if they learn other techniques like ballet or contemporary dance, they will not lose their roots. or that any other form of labor union, or entering the cultural industry, is not going to harm them.
Ricky Pashkus with dancers from across the country.
El Chacaro, a Forerunner
El Chukaro was a producer in the world of folk dance in partnership with Norma Viola.
– You mentioned Chukaro and of course you will remember that he regretted the inclusion of Boladoras in his malambo and explained it as a need to compete with the wings, glitter and butt of Buenos Aires magazines, in which they worked. I understand that you are asking yourself the question of when or how something ceases to be real.
I emphasize: I do not come from folklore and therefore I ask myself questions. Traveling inside I saw that Job placement is a burning problem for folk dancers. It’s something I promote a lot: at festivals dancers are presented with their first and last names, as are the names of singers and musicians. For me both things are related.
And on the other hand, folklore brings everything together: body diversity, diverse cultural models, unexpected faces. No one tells you “you can’t with that face.” But since I don’t have leadership in that world, I can’t help but question myself.
Famous and already legendary shows Argentine Tango, by Claudio Segovia and Hector Orezzoli, premiered in Paris in 1983, represents a model for Ricky Pashkus.
“Nobody Can Deny It” Argentine Tango He managed to create jobs for everyone: milonga, dancers and teachers multiplied. I would like to have a lot to do with the folk dance that Segovia did Argentine Tango. His dancers had the “truth”, they were real; But Claudio Segovia and Orzoli gave her the glamour.”
Ricky Pashku would like to elicit a phenomenon like “Tango Argentino” with folklore. photo juano tesone
– How did your immersion, perhaps unexpected, happen in the world of folk dance?
-In 2015, the Federal Public Media System proposed creating a television program with dance material. They call me, but when I find out it’s about folk dances I say “No, I don’t know anything about that world; they’re going to throw tomatoes at me.” They answer me “we need a captain, not an expert to lead the boat”.
Then I surrounded myself with very nice people and kept quiet on artistic matters. I only decided about speed, which is important on television, and also that there was some entertainment. The program was very successful, especially a good rating in the interior, and I traveled all over the country.
Everywhere, from provincial capitals to small towns, they understood what he was talking about. All this experience forced me to listen more and recognize my limitations; I also met very liberal people, very broad and far from the stereotypes I had formed. After all, I revised the concept of the motherland to be understood in the true sense that they teach us in school. I found that the meaning of the motherland is to defend a respectable life on the land where you were born.
To register for the Germinart project: Premios Chucaro (Facebook) and Premioschucaro (Instagram). Registration Deadline: 30 July.