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 erika
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0 | October 5, 2009 |
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Maggie
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Maggie
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6 | August 25, 2009 |
| Pirate bd video |
erika
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1 | August 7, 2009 |
| some more videos |
erika
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0 | July 18, 2009 |
Ojos De Brujo
I found this photo on the group's website:
www.ojosdebrujo.com/
The woman is called Marina "la Canillas". Here's her biography:
Marina "la Canillas" ]
In a band without leaders, it can be difficult for her to stand on the stage as its voice and image. She writes lyrics and composes much of the music, sings, raps, plays the cajon and the 'palmas' (handclaps). She is also the vision behind the band's graphic aesthetic. Her musical cohorts refer to her as the bullet-head of the band and hone in on her energy and relentless search to know people as who they are and not what they seem. Not only is her social consciousness is central to the concept of the band, but also her edgy way-of-life that springs from her experience in experimental performance and theatre in clubs, squats, and feminist collectives, where she would run multi-media and clothes-recycling parties with her friends from Valencia.
With an all-female group called 'Agüita Troop,' she ran a series of shows dedicated to woman's problems in the Arab world, and of the problem of self-esteem and objectifying femininity in the play "This is Not an Invitation for You to Rape Me," performed from a catwalk.
The stage is Marina's creative space. She loves to dress up, disguise herself and combine styles, which she believes goes well beyond the clothes themselves. That everything speaks to who you really are: from the raps to the moon-covered skirt to the Hindi spot between your eyebrows, all marks of independence. Everyone in the group says she is the one who remembers from where they have come and can see where they are going. Her attitude on stage says it, her lyrics speak it. She composes with the energy and sensations of real life, keeping an eye out for those less-fortunate. She is convinced that art betters the human being; if art is sold, she argues, man is also sold. Describing music as a direct channel to the heart, she defends it as one of our most essential rights. She counts on a positive and constructive attitude to confront change and chaos. She has a profound connection with the the harsh side of life, and the places in which she lived brought her more than just rumba and flamenco, and is always conscious of social inequality and the lack of opportunity for some classes.
Although she was a theatrical child with a constant sense of music, she never thought of being a singer. (She met with friends to listen to albums and lip-sync in front of the mirror like other kids. From there she went to singing with a choir, which would impress upon her the importance of singing with others.
In Valencia ("we all have to come from somewhere," she says), she would get together with the 'flamenquillos' (flamenco-lovers) of the neighborhood to learn the rhythms and jam on the cajon, and she studied conga with a Cuban friend. During this period she participated in the 'Solea Industrial,' an experience which led her to record factory sounds on a computer and fashion them into solea rhythms.
A flamenco-lover always, but also a performer with a highly unorthodox image. A woman, a non-gypsy, with hair cut short and some dreadlocks in back, dressed in chains and singing industrial soleas. She had all the ingredients of an Ojos de Brujo member, and their paths would cross one summmer in Formentera. She would perform a small flamenco repertoire in the 'terrazas' (bars) during the day, and one night she met Juanlu, Dani Macaco and Maxwell Wright, and they started jamming.
Shortly after, she started rapping over the first songs of 'Vengue' on a car cassette player. Although Juanlu convinced her to come to Barcelona, a year went by until they met again by chance in a squat called 'Les Naus' in Barcelona. It was there that the spark started, and she met Ramon in an apartment in Escudillers, where everything began to take shape. Marina says it was like lofe at first sight, and the personal and musical connection became clear. A month later she left Valencia to live in Barcelona, and to join a band that shared not only work, but life.
www.ojosdebrujo.com/
The woman is called Marina "la Canillas". Here's her biography:
Marina "la Canillas" ]
In a band without leaders, it can be difficult for her to stand on the stage as its voice and image. She writes lyrics and composes much of the music, sings, raps, plays the cajon and the 'palmas' (handclaps). She is also the vision behind the band's graphic aesthetic. Her musical cohorts refer to her as the bullet-head of the band and hone in on her energy and relentless search to know people as who they are and not what they seem. Not only is her social consciousness is central to the concept of the band, but also her edgy way-of-life that springs from her experience in experimental performance and theatre in clubs, squats, and feminist collectives, where she would run multi-media and clothes-recycling parties with her friends from Valencia.
With an all-female group called 'Agüita Troop,' she ran a series of shows dedicated to woman's problems in the Arab world, and of the problem of self-esteem and objectifying femininity in the play "This is Not an Invitation for You to Rape Me," performed from a catwalk.
The stage is Marina's creative space. She loves to dress up, disguise herself and combine styles, which she believes goes well beyond the clothes themselves. That everything speaks to who you really are: from the raps to the moon-covered skirt to the Hindi spot between your eyebrows, all marks of independence. Everyone in the group says she is the one who remembers from where they have come and can see where they are going. Her attitude on stage says it, her lyrics speak it. She composes with the energy and sensations of real life, keeping an eye out for those less-fortunate. She is convinced that art betters the human being; if art is sold, she argues, man is also sold. Describing music as a direct channel to the heart, she defends it as one of our most essential rights. She counts on a positive and constructive attitude to confront change and chaos. She has a profound connection with the the harsh side of life, and the places in which she lived brought her more than just rumba and flamenco, and is always conscious of social inequality and the lack of opportunity for some classes.
Although she was a theatrical child with a constant sense of music, she never thought of being a singer. (She met with friends to listen to albums and lip-sync in front of the mirror like other kids. From there she went to singing with a choir, which would impress upon her the importance of singing with others.
In Valencia ("we all have to come from somewhere," she says), she would get together with the 'flamenquillos' (flamenco-lovers) of the neighborhood to learn the rhythms and jam on the cajon, and she studied conga with a Cuban friend. During this period she participated in the 'Solea Industrial,' an experience which led her to record factory sounds on a computer and fashion them into solea rhythms.
A flamenco-lover always, but also a performer with a highly unorthodox image. A woman, a non-gypsy, with hair cut short and some dreadlocks in back, dressed in chains and singing industrial soleas. She had all the ingredients of an Ojos de Brujo member, and their paths would cross one summmer in Formentera. She would perform a small flamenco repertoire in the 'terrazas' (bars) during the day, and one night she met Juanlu, Dani Macaco and Maxwell Wright, and they started jamming.
Shortly after, she started rapping over the first songs of 'Vengue' on a car cassette player. Although Juanlu convinced her to come to Barcelona, a year went by until they met again by chance in a squat called 'Les Naus' in Barcelona. It was there that the spark started, and she met Ramon in an apartment in Escudillers, where everything began to take shape. Marina says it was like lofe at first sight, and the personal and musical connection became clear. A month later she left Valencia to live in Barcelona, and to join a band that shared not only work, but life.
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