GALita/Wit’s End Puppet’s MAYAN FABLES - 2015 Remounting
GALA Hispanic Theatre’s GALita & Wit’s End Puppets’ collaborative piece Mayan Fables opened this past Monday morning. DC Actors of Color would love to acknowledge and thank the Mestizx artists involved in the production. This production is something you beautiful brown people should be proud of! All of DC Theatre should support this Mestizx art being performed at the Tivoli in Columbia Heights.
(Photo: Marketing for MAYAN FABLES)
Despite the success of the production, there are still some issues that must be addressed: how were mestizx & indigenx artists used, how much of the art is authentic Mestizx/Indigenx art, among others. We will address some technical issues first, and then review the production itself.
One main concern is the misuse of Mestizx/Indigenx artists. One small example is Chema Pineda-Fernández. On Twitter, Wit’s End mentioned that they were working on the “script which we've been trying to improve with the help of @ActorChema”, yet Pineda-Fernández receives no credit past acting in the program. Which leads to the question, was Pineda-Fernández paid for their non-acting based work on Mayan Fables? Cecilia Cackley is a larger example for many reasons. 1) Why is Cackley a co-Director? She was one of the few female directors of color named as director of professional productions in the DC area for the 2014-2015 season. A co-Direction distinction minimizes Cackley’s accomplishment. Furthermore, co-Director David Lloyd Olson’s (also director of the two previous incarnations of Mayan Fables in 2013 and 2014) European life experience did not and continues to not benefit the well being of this piece of Indigenous art. Cackley’s voice as a Mestiza and experience as Artistic Director of Wit’s End Puppets, was a perfect combination for a Director for this show (only second best to a Maya Director). 2) Why is Cackley overworked? Overworked usually means underpaid. Cackley is Writer, Co-Director, Actor/Puppeteer, and leader of the puppet company that is producing the beautiful work. Why put the whole responsibility on Cackley’s shoulders? Why not let Cackley focus her work on being Wit’s End Artistic Director, and allow her to open up opportunities to other Indigenx artists?
Another concern is the redface in the production. Over 65% of the credited artists are European-descendants. Furthermore, the more or less 35% of the non-European artists are all Mestizx (this continues the destructive narrative that only ‘whites and mestizos’ can tell Indigenx stories). There is zero Mayan influence on the production and so, Mayan Fables is not a proper title for the show. Mestizaje Fables more accurately describes what GALita/Wit’s End has accomplished with the piece. White Supremacy was not removed from Mayan Fables. Why could GALita not hire more Indigenous artists? Why not hire addition Indigenx/Mestizx actors and designers? Why not do the simplest thing: hire a Maya director? A Maya director would bring a unique voice no other director could ever provide. Indigenx people think about and interpret Indigenx art in unique ways. Giving Indigenx people a place at the table to tell Indigenx work should be a priority for GALA Hispanic Theatre; especially considering they are at an ideal place to serve severely underserved communities: the intersection between Latinx and Indigenx cultures and identities.
(Photo: Marketing for #DecolonizeMayanFables)
A huge concern is music in this production. In the program, a Virginia based musician, Alberto Ramirez (possibly Maya, if not, a Guatemalan Mestizx), was given a “special thanks” for the work they did. What work did this musician do to provide a ‘thanks’? Did they provide music? If so, how did they work with Musical Director Mariano Vales? Also, the two Yucatec song in the beginning and end of the show were not given any credit in the program. Did Ramirez help provide the songs sung, or the music played throughout the show such as Uncle Coyote’s dance? The opening song “Konex, Konex” is a classical Yucatec song. The second was a song I never heard, and sadly the program did not credit any Indigenx artist (classical or contemporary). Why aren’t these Indigenous artists being credited for their work?
(Video: Alberto Ramirez sings “America”)
The program itself contained great information about Classical Maya civilizations, though some contemporary Maya history would have helped tell Maya history better. Talking about contemporary accomplishments of Maya people: such as the anti-colonization efforts of the EZLN movement and Comandante Ramona’s involvement as a Zapatista leader; the winning of the Nobel Peace Prize by activist Rigoberta Menchú; the wide success of composer and singer Armando Manzanero, and many others. There was no credit given to the program/study guide creator. Alina Collins Maldonado is listed as the Education Program and Daphne Figuerero Gerig is listed as Playbill Design- but none is given credit for the educational content within the program. The program is well designed and contains fun and educational activities for children of varying ages. A problem with not specifically having an Indigenx person work on an Indigenx production’s playbill, is that non-Indigenx persons’ first thought is not proper representation of Indigenx works. An Indigenx playbill provider would be sure to include each Indigenx artists’ tribal/ethnic affiliation. The Indigenx and Mestizx artists involved in Mayan Fables were not given the opportunity to represent their Indigenous ethnic group in the program, and if they were, then no one took the opportunity to identify as such.
(Video: Rigoberta Menchú talks Indigenx American peoples & identity)
Why are only 12 performances of this production being offered? The minimum to be eligible for the Helen Hayes adjudication is 16 performances. GALA would be doing a huge service to the DC theatre community by letting Mayan Fables be eligible for Helen Hayes Awards. Mayan Fables is a gorgeous, unique, and refreshing production that could have done very well within the TYA and other Helen Hayes categories.
In enjoying the remounted version of Mayan Fables, I was able to see how far diversity in GALita theater has come and how much further it needs to go. I have seen all three installments of the show and am pleased with the changes that this new show took in order to make the play more authentic.
To begin with, the opening of the show has revealed that the (Co-)Director, Cecilia Cackley has decided to go for more authenticity, by allowing the “Konex, Konex”, a revered Maya song, to open the show in a ritual sense. This is both a symbolic beginning for the children as they delved into the learning experience, and an homage to the Ancestors and Elders that would be adherent to the show. In the show previous, there had been winds that blew the ensemble in and away at the beginning and end of the show. Though somewhat interesting, it is not specifically in keeping with Maya traditions. The concept of Indigenx performance being about more than music, dance, and theatre, was very strong in this production. Ritual and tradition played a large role in bringing authenticity into the production, and helping to #DecolonizeMayanFables.
(Video: Konex Konex performed by Raíces del Mayab al Reino Unido)
Another much appreciated change was with the Jaguar roles which was played previously by Pineda-Fernández and Bob Sheire. Pineda-Fernández reprises their role, and is joined by new Mayan Fables actor, Miguel Alejandro Amaguaña. Immediately, children are engaged by the jaguars and their plight, being harangued by a playful shadow cricket, puppeteered by one of the actors backstage. What was cut, was the hip-hop skit, which veered heavily from the cultural music and setting of the play. During previous mountings, the Jaguars enter with a beatbox beat that insinuates incorrectly that there are heavy African themes to emerge later in the play. However, since that was never the intention of the play, it comes off as erroneous and somewhat offensive- bordering on Blackface, which raises the question: what was Co-Director David Lloyd Olson thinking? A drastic change was made and instead the relationship of the two formerly beatboxing Jaguar pals, becomes a more natural and caring relationship between gender neutral cat characters. The interaction was seamless and children's laughter and cooperation in the play continued without the awkward hitch from before.
(Photo: Amaguaña in GALita’s TUM TICA, with Karin Tovar... no photos of Amaguaña in MAYAN FABLES exists.)
Cackley did quite well in handling themes of diversity by also changing the relationship between the Shaper and Creator, and by reverting their names to the Classical Maya names, Xpiyacoc and Xmucane (the first father and the first mother of all Maya people). Previous mountings had these two roles played by (a redface donning) Sheire and Pineda-Fernández. Admittedly, it was jarring to have Sheire play the role, not simply because it distracted from the authenticity but also because the show is heavily bilingual and his role seemed to be really Anglicized compared to the other three actor roles. Where Sheire only spoke a few Spanish words here and there, I am glad that his replacement, Amaguaña, is a bilingual actor and was able to fluidly communicate to the young children in both Spanish and English. It is very important that bilingual artists be used for bilingual works. Amaguaña and Pineda-Fernández cleverly drew away from the hyper masculine roles of before when it came to Xpiyacoc and Xmucane. In the first and second remounts Creator and Shaper were in competition, their voices emitted in bravado, and we see the beginning of the world almost like a game. Yet, now, Xpiyacoc and Xmucane have entered in as companions, partners, parents to creatures that they have created. What I thought was especially beautiful was that this show presented an example of queer love without being gaudy, but in a guiltless and endearing way. Watching the two characters leave the stage arms around one another in their last scene, moved me personally and I am positive that children in the audience felt the same. It is amazing that Cackley was able to provide children who come from “non-traditional” families, an opportunity to see that not all families look the same.
(Photo: Pineda-Fernández in the original production as Shaper/Xmucane)
Music plays an integral part of the show, and I am very pleased that it was made more present, through singing, dancing, and the instruments brought onstage. Yet, it seemed that there was no one to credit for this change. Musical director, Mariano Vales was credited as leading music for the production, but composers were not named. Did Vales write the second Yucatec song? It was an exceptional addition to the show and makes me wonder if perhaps there had been Indigenx musicians at work that did not get their due diligence. GALA should respect it’s Indigenx artists, pay them for their unique work, and give them full recognition of their accomplishments.
One change that I hope is fixed in the next remount, is the adherence to diverse, bilingual actors of color that have Native American roots. Once again, in the show, actor Carol Spring, has taken a critical role away from a female/non-binary Native American actor. In other remounts she had played the role of Mother, which had seemed doubly strange then as well because Sheire had played the Father, yet their child was Native American. When put into the contemporary context of national governments removing Native American children from Indigenous homes and putting them into non-Native homes, to reinforce the ideal of ‘kill the Indian, not the man” (meaning, Native children can have more success once their Indigeneity is taken away), it raises the question: what was Co-Director David Lloyd Olson thinking? While Cackley/GALita allotted Spring to the animal roles in the show, it would be better overall to avoid redface altogether and have another Native American actor fill that role. Due to the nature of the play, as a learning and cultural emboldening tool for youth, having a multilingual Native American cast would also help with more beneficial talkbacks after the show.
After the show was also a treat because it gave the youth their own time in which to appreciate their backgrounds. The ensemble lead a talk back with the schools, where they were tasked with answering questions about the production, puppets, Indigenx identity, Maya history, and much more. The cast was able to communicate in both Spanish and English to their audience members, however, I also believe that this could be an opportunity to reiterate the important aspects of the show and to see what was learned overall. Many of the children admitted that this was their first theatrical experience. The little brown faces that filled the audience space, sported large smiles- possibly because they are able to see and hear people that look and sound like them. Representation is really important. #RepresentationMatters
(Photo: Cackley and Pineda-Fernández in the original production as the Disobedient Child and Chac.)
When previously DCActorsOfColor reached out to GALita & Wit’s End, only the puppet company responded. It would be a positive thing for everyone if GALita Artistic Director Laura Quiroga made a statement regarding the misrepresentation of Mayan art and Native American artists in Mayan Fables. GALA & GALita must take responsibility for their actions.
After seeing Mayan Fables a third time, now in it’s newest form, I will say that I was quite pleased with how this remount turned out, both aesthetically and culturally. The need to involve more Indigenx artists in Indigenx works is quite important, and I hope that in the future that GALita will strive for an even more diverse cast, that more authentic music can be incorporated (it really was quite enchanting) and that any further redface can be avoided altogether. Beautifully done, Cackley can definitely call this show a hit in every sense, and I hope to see more from her and Wit’s End in the future!
