MASHA ARCHER, BIOGRAFIA

Masha Archer era aluna de Jamila Salimpour, que desenvolveu sua própria interpretação. Ela eliminou a distinção entre as diferentes origens geográficas para a dança, figurino e música.

Masha, aka Maria Muchin-Archer, nasceu em Kiev, Ucrânia filha de Sophia e Mykola Muchin, ambos os artistas e mestres da pintura e da escultura nos institutos de Arte de Kiev e Kharkov. Depois de passar anos do pós-guerra na Europa, eles emigraram para os Estados Unidos em 1949. Masha residiu em San Francisco desde 1967 com o marido, o fotógrafo Charles Archer (que morreu em 1993), junto com as duas filhas, Maya e Larissa.

Ela estudou no Pratt Institute, em Nova York, com especialização em pintura e design gráfico. Mais tarde, ela trabalhou como restaurador e expositor no Museo Nacional de México, Cidade do México, e projetado jóias e roupas em Tucson e San Francisco.

Honras e reconhecimento especial

1997: Patrocinado pela Aeroflot e Consulado russo para uma série de one-artista mostra em Moscou, St. Petersberg, e Kiev.

1997: feira de jóias da Masha foi escolhida para abrir os "Dias da Rússia Festival", em San Francisco (organizado conjuntamente pelo Consulado da Rússia eo Serge Sorokko Gallery na Costa Oeste).

1995: Masha Archer foi batizada de "Art-to-Wear Jóias Designer, EUA" pelo Fashion Group Nova York, em um evento patrocinado pelo Museu San Francisco de Arte Moderna.

1996: Desde 50 colares originais para a Great Lakes Festival Theater (Cleveland, Ohio) para uma produção moderna vestido de Shakespeare "Antônio e Cleópatra".

1997: Desde 10 colares originais para a empresa Opera Manhattan (NY, NY) para a produção do concerto de Massenet 'Cleópatra' no Sarah Lawrence College e Alice Tully Hall.

Fonte: http://vk.com/olga_andru  

** Tradução livre - Carine Würch **

Masha Archer was a student of Jamila Salimpour who developed her own interpretation. She removed the distinction between different geographical origins for the dance, costuming and music.

Masha, aka Maria Muchin-Archer, was born in Kiev, Ukraine to Sophia and Mykola Muchin, both artists and teachers of painting and sculpture at the Kiev and Kharkov Art institutes. After spending post-war years in Europe, they emigrated to the United States in 1949. Masha has resided in San Francisco since 1967 with her husband, photographer Charles Archer (who died in 1993), along with her two daughters, Maya and Larissa.

She studied at Pratt Institute in New York City, majoring in painting and graphic design. Later she worked as a restorer and exhibitor at the Museo Nacional de Mexico, Mexico City, and designed jewelry and clothing in Tucson and San Francisco.

Honors and Special Recognition

1997: Sponsored by Aeroflot and Russian Consulate for a series of one-artist shows in Moscow, St Petersberg, and Kiev.

1997: Masha's jewelry show was chosen to open the "Days of Russia Festival" in San Francisco (organized jointly by the Russian Consulate and the Serge Sorokko Gallery on the West Coast).

1995: Masha Archer was named "Art-to-Wear Jewelry Designer, USA" by the New York Fashion Group in an event sponsored by the San Francisco Museum of Modern Art.

1996: Provided 50 original necklaces to the Great Lakes Theater Festival (Cleveland, Ohio) for a modern-dress production of Shakespeare's 'Antony and Cleopatra.'

1997: Provided 10 original necklaces to the Opera Manhattan company (NY, NY) for a concert production of Massenet's 'Cleopatra' at Sarah Lawrence College and Alice Tully Hall .

Masha, aka Maria Muchin-Archer, was born in Kiev, Ukraine to Sophia and Mykola Muchin, both artists and teachers of painting and sculpture at the Kiev and Kharkov Art institutes. After spending post-war years in Europe, they emigrated to the United States in 1949. Masha has resided in San Francisco since 1967 with her husband, photographer Charles Archer (who died in 1993), along with her two daughters, Maya and Larissa.

She studied at Pratt Institute in New York City, majoring in painting and graphic design. Later she worked as a restorer and exhibitor at the Museo Nacional de Mexico, Mexico City, and designed jewelry and clothing in Tucson and San Francisco.

Honors and Special Recognition

1997: Sponsored by Aeroflot and Russian Consulate for a series of one-artist shows in Moscow, St Petersberg, and Kiev.

1997: Masha's jewelry show was chosen to open the "Days of Russia Festival" in San Francisco (organized jointly by the Russian Consulate and the Serge Sorokko Gallery on the West Coast).

1995: Masha Archer was named "Art-to-Wear Jewelry Designer, USA" by the New York Fashion Group in an event sponsored by the San Francisco Museum of Modern Art.

1996: Provided 50 original necklaces to the Great Lakes Theater Festival (Cleveland, Ohio) for a modern-dress production of Shakespeare's 'Antony and Cleopatra.'

1997: Provided 10 original necklaces to the Opera Manhattan company (NY, NY) for a concert production of Massenet's 'Cleopatra' at Sarah Lawrence College and Alice Tully Hall .

A Brief on Masha Archer's Contributions to ATS

http://www.tribalbellydance.org/articles/MashaArchersContributions.html

A Brief on Masha Archer's Contributions to ATS as told by Larissa Archer, her daughter

To the 1970's Bellydance Facebook Group

Ok, here's what I know about my mother's work, based on talking to her now and what I heard all through my growing years and old interviews, etc. Masha studied with Jamila more than 6 months (I don't know how many years; I'll ask her…), and then started to do her own thing, and established the San Francisco Classic Dance Troupe.

She was not at all interested in keeping the dance "authentic" for authenticity's sake. She wanted a dance that she felt was appropriate for the modern western woman. So she discarded certain elements that she didn't like (such as the Turkish drop--since bellydance was still something people really only associated with nightclubs and male entertainment, and she wanted to drag it up into a level at which people would rightly acknowledge it as art, she felt that women should not be dancing on the floor. also, she didn't want her dancers risking injury, and felt she couldn't teach it or even do it herself in a way that was perfectly safe). She kept elements she did like and altered them as she saw fit to suit her taste. For instance, she wanted peoples' feet close together in moves like the Egyptian basic, and she emphasized what we now think of as ATS posture (although she looks at photos of herself dancing and gasps at her own "horrible, dreadful posture and terrible feet"!) and emphasized the lifted elbows that are so important to this dance. According to her these were tweaks to the moves she learned from Jamila.

NOW, because she was not interested in keeping the dance (or dances) authentic, she didn't want any guff from people about her lack of authenticity. So she used the word "American" to describe the dance she was teaching and performing. Also, Jamila loved bellydance, but was (at the time) very pessimistic about it ever being part of a different world from the nightclubs. The Ren fair seems the most un-nightclubby event her troupe danced at. Mom wanted to present this dance in more mainstream venues. You'll see from many of the pictures I posted in "Old school belly dance" that mom had her group dancing at book fairs, gallery openings, parades, artsy parties, city hall, etc. And she disallowed her dancers from performing in nightclugs or bars (she even got an offer from the SF 49ers to dance at a party for the team, but she wasn't sure it would be safe for them so turned it down). Part of what she felt would bring bellydance out of the nightclub was the chorus, or the tribe. Rather than a lone woman out dancing by herself like in a nightclub, the chorus surrounded and protected her (figuratively, of course), and would "teach" the audience how to regard the featured dancers. Seeing the chorus support and respect the featured dancers would influence the audience to do the same. SO the "tribe" was very important to her, and when asked about her style, she said, "American Tribal." THIS DOES NOT MEAN HER DANCE WAS THE SAME AS WHAT WE KNOW OF AS ATS, OR THAT SHE IS THE CREATOR OF ATS. She may not even have strung the three words together, "american tribal style"--and in those days, since there was much less bellydance going on and it was much less known, so there was also much less need to semantically distinguish one style from the next. All that was really relevant at the time was that this was American (not Moroccan or Egyptian or anything else) and that you were going to get a whole group--a tribe-- of dancers at your gig, not just one woman.

NOW, mom did not organize the dance or codify it the way Carolena has. There were no "cues"-- you just had to sort of telepathically sense when the movement was going to change. There was no set dance formation. Carolena has joked that mom would "lead from behind"--Carolena was shorter and so had to stand in front and somehow perceive what mom was doing behind her. the lack of set cues, formations, and base combinations meant the repertoire was simpler. While there were spins, there'd have been nothing like the Egyptian combo with spins, or the ASWAT. While there was a (very different) Camel Walk, there'd have been nothing like the camel walk we can do in a trio, ending up in different positions. While there was an Arabic basic, there'd have been nothing like the do-si-do. These more complicated moves are possible because of the codification of the dance, the setting down of group formations, and the establishment of cues. Carolena's codification of everything has meant that many more moves could be added to the dance form, and that the basic moves can be done in a multitude of new ways. And Carolena has also altered some of the moves that she has kept over, just as mom altered the moves she got from Jamila. But the addition of moves from kathak and flamenco, those are also all Carolena's.

SO….this is a lot of what I know about my mom's place in the evolution. I haven't talked about her influence on costuming, but you can draw conclusions from the photos in the Old School Belly Dance album. I don't know about these other styles and teachers and influences people have mentioned, but am now very curious!

See the gallery HERE

69 - MASHA ARCHER

69 por Maria Carvalho - SEMANA 36

Pensando... faltam 69 dias para o estudo com Carolena, u-huuu!!!

Enquanto isto, hoje trago uma linda imagem, que me deixou nostálgica: a caixa com snujs de Masha Archer da época em que dançava. 

Foram encontrados recentemente entre os pertences de nossa Pilar.

Há snujs de vários tamanhos e pesos, eram utilizados (acredito) para acompanhamento musical e não necessariamente para dançar e tocar simultaneamente. O peso não ajudava.

Quem utiliza snujs sabe a diferença de um finger cimbal para bellydance e o do ATS (parecem pires, de tão grandes), haja braço!!! 

Sugiro ir castanholar para preparar os músculos. kkk

*Imagem é de Larissa Archer. 

75 - MASHA ARCHER

Masha Archer e as filhas:
Maya e Larissa

75 por Carine Würch - SEMANA 35

Masha, Maria Muchin-Archer, nasceu em Kiev, Ucrânia, filha de Sophia e Mykola Muchin, ambos os artistas e mestres da pintura e da escultura nos institutos de Arte de Kiev e Kharkov.

Depois de passar anos do pós-guerra na Europa, eles emigraram para os Estados Unidos em 1949. 

Masha residiu em São Francisco desde 1967 com o marido, o fotógrafo Charles Archer (que morreu em 1993), junto com as duas filhas, Maya e Larissa.

Larissa e seu pai, Charles Archer

TEXTO ORIGINAL: http://masha.org/bio.html

FOTOS do álbum pessoal de Larissa Archer no Facebook.

PILARES ENTREVISTA - Natália Espinosa (parte 04)

82 por Maria Carvalho e Natália Espinosa - SEMANA 34

Pilares do Tribal - Entrevista com Natália Espinosa (parte 04)
 
Entrevista com a Sister Studio Natalia Espinosa sobre: Uma conversa com Masha Archer.

Projeto Pilares do Tribal

Blog - http://pilaresdotribal.blogspot.com.br/

Fanpage - https://www.facebook.com/PilaresdoTribal

Produção: Carine Würch - Maria Badulaques - Natália Espinosa

Edição: Maria Carvalho
Filmagem: Rodrigo Marcio
Trilha Sonora: Arrigton de Dionysio Pluto in Capricorn

87 - UM ENCONTRO ESPECIAL

87 por Maria Carvalho - SEMANA 33

U-hu, voltando a labuta...

Sabe, nada melhor do que recomeçar nossas postagens compartilhando essa cena linda, onde vemos Natália Espinosa com Masha e Larissa Archer.

Ainda não tive oportunidade de conversar com a Nat e saber tudo sobre o ATSHomecoming (pretendo participar ano que vem, simboooora), mas pelas fotos é perceptível que o evento teve os ingredientes que mais chamam atenção em um encontro tribal: personalidades fortes, mulheres que se assumem e lógico, muiiiiiita dança.

Observar todo cenário, de longe, chega a ser uma tortura, principalmente porque das 3 grandes pilares, de quem tanto falamos, duas estavam presentes e ao que parece não alçadas ao status de divas-cultuadas e sim, de gente normal, que usa o banheiro como todaaaaas nós. 

Talvez essa seja a grande sacada, afinal todas somos iguais, muito embora em níveis diferentes de técnica...certo?!

O grande dia está se anunciando no horizonte, Carolena e Megha romperão o silêncio de nossos entusiasmados olhares e respiração suspensa com um refinado ATS. 

Aprender, ver, beber desse rio é um bálsamo e lembrar: 

somos todos IGUAIS.

Bom retorno a todas nós, com muito TRIBAL nas veias do pulsante.

Xeros e vamo que vamo!!!