DANCE ORIGIN: Peru GENRE: Marinera ARTISTIC DIRECTOR: Nestor Ruiz First Appearance in SF EDF: 1999 Email:nestormarinera06@yahoo.com
The
marinera has origins in much of Peru’s cultural history: the
Afro-Peruvian zamacueca, Incan artwork, Creole symbolism, Spanish
fandango and jota, and the French minuet. The white handkerchief is a
wink (or wave) to the seventeenth century French Peruvian aristocracy.
Once named “the chilena” the dance was renamed “marinera” for the
Peruvian Navy in 1879, when Peru entered a war against Chile. Some
versions of marinera have sweeping foot movements and leaps. Some use
elements from indigenous Andean huayno. One form is danced outside: a
graceful woman dances barefoot in the dirt, and an elegant male dances
on an equally elegant Peruvian Paso horse—a horse bred for its steady
four-beat gait.
Nestor Ruiz, director of El Tunante,
was a national dance champion in Peru in 1978. With the growing number
of Peruvians immigrating to the Bay Area, Señor Ruiz founded El Tunante
in 1999 to promote Peruvian folklore within the youth of his community.
2012 PERFORMANCE
TITLE: Marinera Norteña ARTISTIC DIRECTOR: Nestor Ruiz MUSICAL DIRECTOR: Alberto Morales DANCERS: Alejandra Chumbe, Cesilia Fey, Renato Manay,
Renzo Manay, MargorieQuisbe, Nestor Ruiz CHILDREN DANCERS: Luciano Fernandini, David Ferreira, Diego Hagan, Daisy Polanio MUSICIANS: Banda Peru: Ryan Black (euphonium), Mike Garcia (tuba),
Hermann Lara (tenor saxophone),Alberto Morales (trombone), Augusto Sandoval
(drums), Edward Sandoval(cymbals), Percy Sandoval (bass drum), Daniel Ventura
(trumpet)
The marinera is the Peruvian National Dance, one of the most elegant
dances in Peru. In Lima, it’s marinera Limeña; on the coast, it’s
marinera costeña; and in Trujillo and the North, it’s the lively
marinera norteña, the form presented. The men wear traditional
wide-brimmed hats and ponchos. The women’s dresses are from cities of
northern Peru‚ including Moche, the source of elegant lace, and
Trujillo, the marinera capital.
The dance begins with the men
demonstrating marinera norteña choreography. This version includes steps
that imitate the Peruvian Paso horse, and the music directs the gait.
Next the women dance, their expressive bare feet drawing images on the
ground, their skirts swishing like ocean waves. To complete the set, the
couples unite. Their steps include the coqueteo, with partners dancing
very closely, and the skillful cepillado brushing footwork. El Tunante describes the dance: She,
with her gathered skirt seems to leave her agile feet free sweeping the
ground with the fury and the passion of her joy. He, with his desire
contained, expresses with the force of his dance the passion of his
conquest.
Marinera dancers are typically accompanied by
Spanish guitars, an Afro-Peruvian cajón box drum, spoons that substitute
for Spanish castanets, and palmadas or handclaps. This presentation
featured the lively Banda Peru, including musicians on tuba, trumpet, trombone, drums, and cymbals.
2011 PERFORMANCE
TITLE:Marinera Peruana MUSICAL DIRECTOR: Alberto Morales DANCERS:Alejandra Chumbes, Cesilia Fey, Renato Manay, Renzo Manay, Sonia Porras de Niño de Guzmán, Nestor Ruiz MUSICIANS:
Jose Castillo (euphonium), Pedro Castillo (trumpet), James Cuba (tuba), Hernan Lara (alto sax), Alberto Morales (trombone), Augusto Sandoval (drum), Edward Sandoval (cymbal), Percy Sandoval (drum)
The marinera is the Peruvian National Dance, one of the most elegant dances in Peru. In Lima, it’s marinera Limeña; on the coast, it’s marinera costeña; and in Trujillo and the North, it’s the lively marinera norteña, the form presented. The men wear traditional wide-brimmed hats and ponchos. The women’s dresses are from cities of northern Peru‚ including Moche, the source of elegant lace, and Trujillo, the marinera capital.
The dance begins with the men demonstrating marinera norteña choreography. This version includes steps that imitate the Peruvian Paso horse, and the music directs the gait. Next the women dance, their expressive bare feet drawing images on the ground, their skirts swishing like ocean waves. To complete the set, the couples unite. Their steps include the coqueteo, with partners dancing very closely, and the skillful cepillado brushing footwork.
El Tunante describes the dance: She, with her gathered skirt seems to leave her agile feet free sweeping the ground with the fury and the passion of her joy. He, with his desire contained, expresses with the force of his dance the passion of his conquest.
Marinera dancers are typically accompanied by Spanish guitars, an Afro-Peruvian cajón box drum, spoons that substitute for Spanish castanets, and palmadas or handclaps. This presentation featured a traditional marching band.
2010 PERFORMANCE
Title: La Marinera Norteña Dancers: Luisa Lopez Saavedra, Zarella Mazzini, Nestor Ruiz, Jorge Ventemillia Musicians:Banda Peru - David Carr
(baritone saxophone), Pedro Castillo (trumpet), James Cuba (tuba), Andrea
Fennern (trombone), Santiago Israel (trombone), Hernan Lara (saxophone), Joao
Martins (trumpet), Nathan Mck Griff (saxophone), Alberto Morales (Director),
Nick Rous (saxophone), Luis Sandoval (cymbal), Percy Sandoval (drum), Daniel
Ventura (trumpet) For fifty years, regional and national competitions have
challenged dancers to add a personal touch as they perfect the marinera and contribute
to its evolution. El Tunante presented award-winning performers from the
national contest in Trujillo, showcasing the highest achievement in La Marinera Norteña. The first dance showed the colonial
style: a restrained style in which the women's bare feet simplify the eloquence. The second
piece showed the contemporary form. It combineed the quick pace of the tondero of
Piura and the expressive characteristics of the marinera Limeña.
For this performance, Nestor performed alongside Peruvian
national marinera champions Zarella Mazzini, Luisa Lopez Saavedra, and
Jorge Ventemillia.
The live band of thirteen musicians, Banda Peru,
performs accompaniment on the trumpet, saxophone,
baritone saxophone, trombone, tuba, marching drum, cymbal, and drum.
2009 PERFORMANCE
Title: Marinera Norteña Dancers: Erica Clancy, Sonia Porras Niño de Guzman,
Nestor Ruiz, Stephan Sester Musicians: Oscar
Abanto (guitar), Marina Marchena (vocals), Javier Muton (cajón), Vladimir
Vucanovich (guitar)
The music starts. A man and a woman look into each
other’s eyes. The challenge begins. She raises her handkerchief and smiles,
offering enchantment. He greets her, hat in hand, and announces with elegant
and decided steps that he is a great connoisseur of this game. They dance around each other, testing that sweetness of moving close. Feet pound the floor in
zapateo rhythms. Barefoot, she whirls her skirt, escaping his advances. The
would-be-conqueror is conquered, his handkerchief playing in his fingers like a
dove…
2007 PERFORMANCE
TITLE:La Marinera GENRE: Marinera Norteña ARTISTIC DIRECTOR/ CHOREOGRAPHER: Nestor Ruiz Gil DANCERS: Sara Arrescurenaga, Cesilia Fey, Erica Flores, Shanty Gupta, Christopher Leon, Oscar Leon, Carlos Robles, Marimar Robles, Nestor Ruiz, Stephan Sester, Junior Vilcherrez MUSICIANS: Marina Marchena, Pedro Rosales, Vladimir Vucanovich
With its spiraling choreography and suave footwork, the marinera is called “the lovers’ dance,” as couples are said to fall in love when dancing it. Joyous and flirtatious, it is danced either in couples or groups of couples. A playful courtship ritual between a man and a woman is enacted. With eye-to-eye contact, the woman teases the man with her coquettish feminine wiles and provocative tosses of her handkerchief. The man, with elegant comportment and self-assured steps, is a connoisseur of the game. Using his hat to court her, he moves closer to circle her and, employing cunning charm and agile feet, they whirl around each other without making physical contact.
2006 PERFORMANCE
TITLE OF PIECE:
La Marinera GENRE: Marinera Nortena ARTISTIC DIRECTOR/ CHOREOGRAPHER: Nestor Ruiz DANCERS & MUSICIANS: Sarita
Arrescurinaga,
Vladimir Bukanovitch, Shanty Gupta, Sonia Manay, Marina Marchena,
Nestor Ruiz,
Stephan Sester, Sissi Sorio, Jose Terrones, Lalo
Izquierda
With its spiraling choreography and suave footwork, the marinera is often referred to as “the
lovers’
dance” as couples are believed to fall in love when dancing it. Joyous
and
flirtatious, it is danced in couples or groups of couples. Contained within
the group
dances is a playful courtship ritual between a man and a woman. The
dance starts with
a greeting and ends with a fugue to drum rhythms. With
eye-to-eye contact, the woman
teases the man with coquettish feminine wiles and
provocative tosses of her
handkerchief. The man, with elegant comportment and
self-assured steps, is a
connoisseur of the game. Using his hat to court her,
he moves closer to circle her
and, employing cunning charm and agile feet, they
whirl around each other without
making physical contact.
The song is an ode to love describing
a man singing to a
woman, petitioning her to come out and dance to his sweet tunes
and rhythms of
the drums. It is typically performed with the Spanish guitar and cajón, a wooden box drum originating
from African
slaves.
2005 PERFORMANCE
TITLE OF PIECE:MARINERADIRECTOR/ CHOREOGRAPHER:
Nestor Ruiz DANCERS: Sarita
Arrescurrinaga, Limena Egoavil, Shanti
Gupta, Magaly Marchena, Renato
Nanay, Renzo Nanay, Eduardo Pastor,
Cesar Quiroz, Nestor Ruiz, Jorge
Sebastiani, Sonia Sester, Stephan
Sester, Anna Gil Vasquez, Flor
Ventura MUSICIANS: Maria Marchena, Javier
Nunton, Pedro Rosales, Vladimir Vikanovich
With its spiraling choreography
and suave footwork, the Marinera
is often referred to as "the lovers dance"
because it is
believed that couples fall in love when they dance it. Joyous
and flirtatious,
it is danced in couples or groups of couples. Contained
within the
group dances is a playful courtship ritual between a man and a
woman.
With eye-to-eye contact, the woman teases the man with her
coquettish
feminine wiles and provocative tosses of her handkerchief. The
man,
with elegant comportment and self-assured steps is a connoisseur
of
the game. Using his hat to court her, he is ready to conquer as he
moves closer to circle her. Employing their cunning charm and agile
feet, they whirl around each other without making physical contact.
The scarf symbolizes beauty and purity. The song is an ode to love
describing a man singing to a woman petitioning her to come out and
dance
to his tunes. It is typically performed with the guitar and cajon,
a wooden box drum.
The marinera is the Peruvian National Dance, one of the most elegant
dances in Peru. In Lima, it’s marinera Limeña; on the coast, it’s
marinera costeña; and in Trujillo and the North, it’s the lively
marinera norteña, the form presented. The men wear traditional
wide-brimmed hats and ponchos. The women’s dresses are from cities of
northern Peru‚ including Moche, the source of elegant lace, and
Trujillo, the marinera capital. 
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