¡Colores!; 104; Fastest Hands This Side of The Rio Grande

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1, 2, 3, 1. It is the spirit of the music and the instrument that has enamored Chavis and his long-time partner, Ken Batat. The Marimba is an instrument that pleases listeners and performers alike. You get wrapped up in it kind of envelops you in that sound because it's a massive sound when you're actually playing it and you can actually feel the instrument moving. So in that sense, it's just organic and it feels good. It's not like anything else. It has been a strange transformation for Chavis, a percussionist for nearly 20 years. He has played a variety of musical styles. But his seven-year love affair began quite unexpectedly. Whenever I started music in college and studying music there was purely classical music. Then, whenever I graduated from college, I started branching out into different types of music, jazz, Latin jazz, country, western, and this and that on percussion.

But I started going to Mexico and I started, I wanted a Marimba of my own and the ones that they make here, they're very expensive and instead I bought one in Mexico and I started studying their style and in Mexico, you don't really take lessons. You just watch them and since I have a degree in music, I can analyze everything that they do, how they stand, how they move their wrists, the chords that they use, the thirds, and the whole style. As Chavis gained acceptance from the players of Mexico, he began to recognize the importance of keeping this once thriving tradition alive. A lot of people say, why don't you play a lot more American-type music? A lot of people request the yellow rose of Texas. It just won fit on the Marimba. It would sound beautiful. There would be a million tunes that would sound beautiful, but they're not traditional.

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Then they can sit and enjoy it and enjoy it for the traditional Mexican side. A lot of people that hear us, they think that the Marimba is plugged in, because it seems like it's making so much noise. And a lot of people think it has some type of synthesizer sound to it, and they're looking for the plug, and how do you plug this thing in? Fascinated by the Mexican Marimba's characteristic buzzing, Chavez became a student of the instrument's history. He traced the instrument's origin back from Mexico to Guatemala and then to Africa, where the slave trade brought the unique music and culture to the new world. Whenever I started studying the history of Marimba, I started studying that buzz. Where did that buzz come from? Whose idea was that? So I started researching it, then it traced to Guatemala, then from the African slaves and back into Africa.

So I tried to get all three connections, the African, Guatemala, and in Mexican, and they're all the buzzing sound. Chavez has collected 10 Marimbas, but that's not enough to satisfy this player and collector. He now makes the journey to southern Mexico once or twice a year, and not just to purchase Marimbas. He learns more songs, studies technique, and develops his understanding of the instrument. Every time I go into Mexico, it's like a battery charge. I have to go down there every year, sometimes twice a year, just to get my batteries charged again. Because here, I don't have anybody to watch or to listen to. I've never heard. I wish I could be at Old Town and hear me play. And be in the audience, but that's impossible. So I have to go down there, and I can hear the sound like the people hear it here. And so it's important for me to go into Mexico to hear that style. I have to really, really want to hear the quality sound,

and I want to share that 리떸. ¯¯¯¯ ¯¯¯ ¯¯ ¯¯ ¯¯¯ ¯¯¯

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ac hafgyng ymf yn cofto beth o fel ei ei gallw fanol o ar yr falag, mae ac viadau a ddut yr a'u'r oedeg ychydw y mat. Aleysio'i rhoiарdyddau terwynau ni peth yn Maorio ar y frlaelionau fel什odillau dimi'n Delhi lällaw Li Howard Steve is one of the world's most classical Muremba players. He was recently in Albequerque for Recydl and affirms Travis' drive to revive the Muremba's popularity. What Steve is doing by bringing the authentic traditional style of Muremba playing to the public is serving a very important role not only for audience development for the Muremba but also for the players who need to understand where the Muremba came from involved a detal ond gwelion guef Nigel Dragonne Panther yn n달�ant foilarw llwydowany rydy, demic ac mae'n Otherwise Perfection y Renby aeluishyt.. Dede chi'n dweud a fffαιdmwyr. Mae llyfr syffren yn tach nhap.

Y poswyl ar gyfer gweld yr gay, eisiau y semiconduw inspireddwchifen, ac fwyyd nhau lew tach nhap unrhywn cyfle roeith. Ond gwybod dd [#dynch f awardyssn y-97". Rwy'n blessuyr yn mynny. It's like, have you seen him do this in person, and it's mind boggling how he can repeat both notes together at light, warp speeds. And this is something that the classical player is just fine astounding. And he does it beautifully. ...

Nel'n Buydrum Nadau lwydrall. Helly nhw roy jardeau'n hwn yn riots anionnann. Eit bi da ein maithig gre�로團ochu'r musil er o'n lumefod ynlen. Torfaz ynம'n mynd sefylau yn Grw соu Toddó Chixenau'i D buti mewn mait. Te小 ddiolg yn eu go完au o'n mynd sefylauaji Salinau. liell eich cael golydoo yn i dd Lyn M browsci amdol, ei gwyddac bara eich bwys International, pewn o troo restaueig lyd mlynedd wrthellyil. yn addyn nhw. Ang hijela fiitedwch wedi ammaorusidi'm a amoellat da gyfod completely remeog handledu ad 라볠wch am

unedlai rawyn cwyddoen a'r askingo ond wneud petto pethauawr a mynt ac g złain y gallwig worohol yng mynd di感覺 fel ac cwexprrill y cyllap— enghwyn eisiau bableg ac goat gu assembleesiad y gallu'r gwybod binebale cywbur. Mae mato gylf시� wedi gael gyleith, gynru ddadrych ar gyfeidiolateidogi— pwel另 ymgwy της Eloos mewn gwiaeth yw i beth o jegodd jum gyda dyna yn cyflod wr실. Ma'n ooit ei a neu mewn gw יn çaen Christi don Joel o Pey Boeblwyd. i dwi'n gweith ddwl hanuno rafi llen nhw hefyd, Gwya'r Neb i'r Cislygu ni. Yn cael ei warringoil sy'n fanny'n draegiau.

Llywch yw Albaniaethgenio'r ench bandem dda bod yn medi yn Cecol hiod nhw ydy. To un ei jarod ac i'n gydgythirol ei gerio nhw'n diwednt yn p์deni, dydd bod yn « YH units o hi Timata'u yn cyc, am mor Iraqiswr fellow pan y save raiseshing y cwiraeth wrth. Iem ar yna trwynnwm wedi'n tŷd Farmun whist, I'm working continually on 5 different series. They're called facets, kutish, kutsina, basket dance, and Easter lives. Basket dance and kutsina really come out of a Hopi tradition. Kutsina being the older word for kutsina is really an abstract. My abstract definition of kutsina colors that you see on the dolls, or on tub-letes, or on ceremonial attire. The basket dance series comes from the Hopi wicker plaques,

and instead of having a spiral definition of that design, I've made that spiral definition linear. Easter is a series that's very abstract, and comes from astronomical figures in kibamurals. The weaving style that I've developed, I really consider to be a southwest tapestry, style utilizing prehistoric and historic weaving in the southwest. Fasets is really just pure color, and these colors just but want another in the piece, to make your teeth hurt really at color, just really intense color. One of the things that I like to emphasize really about myself

is that I'm really a product of the southwest. I'm not just from a particular culture, and I think we get a little possessive in the southwest, that it's only Hispanic weaving tradition, or it's only Navajo weaving tradition, or it's only Puebla weaving traditions. You can't have coexisted in the same area for two to four hundred years without having intermarried shared ideas, shared designs, developed really a style, which says I am from the southwestern United States. I really think of myself as part of this historic collaboration. I have black squares that are being woven into a white background.

It's tapestry inset work, and to make each one of these color changes, I need a different little butterfly of yarn. I go across the full width of the tapestry, left to right, right to left, and beat it each time. I also do a cartoon, a full cartoon of the image. I have a color drawing, which I call a macat. I have a small, graft-out image of the entire piece that's finished, and then I have the cartoon strip that's taped to the loom, which shows you what I'm working on now. The design element is really just abstractions of elements and designs that I like from the southwest. I basically have this ongoing interesting color. It's just a continual new and interesting series of relationships.

You can have the same colors. You put them next to each other. They have different impact, different value. They make you feel differently. It's sort of like color could be a religious experience for you if you allowed it to happen. Interestingly enough, once I design the piece, it's on the loom, and I'm working on it. It's like I must know before I finish that piece what the next piece is going to be. It's like being on a roller coaster. I have to know that I can buy another ticket for the same process. This color's program is available on Home Video Cassette for 1995,

plus shipping and handling to order call 1-800-328-5663. Thanks for joining us. I'm Esther Reyes. Good night.

Thank you for joining us. Thank you for joining us.