Asturian-American Migration Forum

ANDRES

Hola a todos miembros de ASUSA:

os escribe Andr'es Villagr'a. Como dijo Alberto, creo que la conferencia de Nueva York y el desfile de San Patricio con los gaiteros fue todo un e'xito. Ya habr'eis lei'do la prensa asturiana y toda la publicidad que se le di'o al evento. El anyo que viene tenemos que estar todos desfilando.
Una amiga m'ia de Oviedo, Ana Pinto, ahora famosa arqueo'loga que tabaja en el CSIC en Madrid, form'o una p'agina web de gaitas donde se comunican gente de todos los paises, y donde compran y venden gaitas a muy bien precio. Os incluyo a todos la direcci'on: US Gaita Asturiana http://launch.groups.yahoo.com/group/us ... asturiana/.
Luego en Washington est'a Alfonso Diaz que organiza el stand asturiano en el ahora fenecido festival intercéltico de Potomac y que est'a muy interesado en ser miembro de ASUSA y organizar un evento pro'ximamente. Su e-mail es alfonsoastur@yahoo.com . decirle que sois miembros de ASUSA y que os di yo la direccio'n si os vais a poner en contacto con e'l.

Tenemos otros proyectos en mente y como dijo Alberto voy a Asturias a una reunion con la Fundaci'on. Si ten'eis alguna sugerencia, contacto que nos pueda ayudar, deci'rmelo antes del pro'ximo jueves.

Me voy a poner las botas de sidrina en este viaje!

Andr'es

ART

Hola,

We need to think a little about the organizational issues.

ASUSA and AsturianUS.org have different sets of members, although we do overlap.

I believe that both organizations should be clearly supporting the work of the band for two reasons. One is that, with their different memberships, we'll be better able to find participants for the band.

The second is more important. The band will create interest in our two sponsoring organizations. Tony Carreño, Paul and I have discussed the benefits of Tampa having a gaita band as one part of the reinvigoration of the Centro Asturiano. Having a band in the Tampa area will help create the momentum necessary if the Centro is to survive. We need a banda de gaites for the same reason cities need professional sports teams: it creates excitement and the city (or in our case organization) reaps great benefits.

Speaking of AsturianUS.org, my vision is that our organization will become more active and effective in promoting cultural awareness. It's clear to me that the 3rd and 4th generations are losing touch with la tierrina. The banda de gaites would be a great way for us to get Asturian-Americans excited about their culture. Many of the immigrant's nietos have never heard a traditional gaitero.s

Alfonso Diaz is doing something similar with the Asturian Society, although in a different realm. He takes a display of Asturian culture to various Celtic festivals in this region and talks to people about Asturias. I've helped several times. Alfonso is a skillful and tireless promoter who is well-connected with other Celtic groups in the eastern US. Perhaps we should include the Asturian Society as a sponsor of the banda, as well. (I have emailed Alfonso but not heard back yet. I'll call him this weekend.)

It's obvious that ASUSA has better contacts with the Principality and Asturias because most of it's members grew up in Asturias. We're fortunate that ASUSA has these connections. On the other hand, AsturianUS.org almost certainly has more members.

That's why we would be stronger and more effective if we arrange a joint sponsorship.

Un saludu candial,
Art

ALBERTO

Art:

you are absolutely right. I never meant that this is just ASUSA's pod. I see this as a joint effort (ASUSA, Centro A. de Tampa, AsturianUS, The Asturian Celtic Society and any other Asturian related organization) but in order to be effective we have to have a single voice; if not this will become "una jaula de grillos". ASUSA can bring their current Asturias contacts (very important to find the economic support) but of course other organizations can bring other things as important; El Centro A de T can provide their rich heritage and their impressive building, AsturianUS can bring their proactive visibility and widespread network, the Asturian Celtic Society their experience participating in cultural events...
This has to be a team work, but somebody needs to organize this joint effort. At his stage of the game, the most important issue is getting a tangible support from Asturias. ASUSA is best suited to do that right now. Once we get the support (gaites, teaching classes, etc) then we'll distribute it around. And it has to be like that, because ASUSA by itself won't be able to achieve the goal of creating such a banda de gaites; we don't have the networks nor the weight that other Asturian organizations in the US have, so by all means, this has to be a joint effort and I do hope that it is perceive as such by everybody.

Alberto

ART

Bones, amig@s,

That sounds good to me. Thanks, Alberto, for clarifying that.

Whenever I've applied for grants we were asked to list who our leaders were. It might help in this case, too, if we formalize this.

I'm not sure who wants to be included, so I'll let them name themselves, but it should include members of each of the groups so that the Asturian Government can see that we have a broad base of U.S. support for the project.

I've just spoken with Alfonso Diaz (Asturian Society) and Tony Carreño (Tampa Centro Asturiano). They both want to read through our emails and think about the implications for their groups before responding, but both seem quite interested in the project. I expect we'll be hearing from them soon.

Fasta llueu,
Art

PAUL / IS

http://www.centroasturiano.org/english/home.html

This goes mostly for Andres up in NYC. I knew there was a centro asturiano in New York (Queens, I believe) that organizes dinners--next one coming up on March 31st. From the web site, it looks like they have 30 families as members.

PZ

ALFONSO

Hola todos,

Creo que al unico que conozco es a Art, y al resto
pues les digo lo que Art ya sabe, y es que me encanta
representar la tierrina tengo la suerte de poder
hacerlo en esta zona de este pais donde hace unos anos
no nos conocian y hoy gracias a la insistencia y
constancia de nuestra presencia en estas funciones y
periodicas reuniones a las que asisto ( de otras
organizaciones) ya nos conoce muchisima gente. Me da
mucho gusto saber que hay otras personas que hasta
ahora no era facil encontrar, pero que comparten mi
idea con el mismo entusiasmo y lo bueno que con otros
puntos de vista, con lo que podemos complementar
cualquier representacion.

Como Art sabe mi participacion se basa en los
festivales celtas de este area que son bastantes,
tengo un Stand con una magnifica pancarta en el que
vestido de asturiano espongo fotos, revistas, y
algunas otras cosucas de la tierrina pero desde el
punto de vista que nos relaciona co nuestra cultura
celta.

En estos festivales participamos representaciones de
las llamadas 8 naciones celtas, desfilamos con nuestra
bandera, ( ya donamos una bandera a la organizacion de
uno de los festivales e incluso si no hay ningun
asturiano que este presente en algunas de sus
funciones ya han llevado la bandera ello mismos por
ejemoplo el ano pasado en el desfile de san patricio
en wash. este ano yo desfile en Alexandria virginia y
tendre representacion en el festival celta del sur de
Maryland el 28 de abril, en Leesburg Virginia (que es
el del Potomac) el 9 de junio y estoy tratando de
entrar en el de Frederick.


Bueno pues los que no me conocian creo que esta es mi
breve carta de presentacion.

Me encantaria poder contar con vosotros o con
contactos que conozcais en este area para tener mayor
y mejor Stand Astur.

Si quereis contactar conmigo para alguna cosa,
encantau.

Un saludu astur

Alfonso Diaz

NATALIA
Art,

I think Rodri mention that they play in Bb.The punteru that they use is plastic in order to be always tune. With the other ones like mine is really difficult to get tune with many other gaites besides the change of weather and humidity affect it.

Mine is tune in DO. is an asturian one with just one drone it was made by el
pravianu. I have these three books http://www.asturies.com/viesca/gaita/libros.htm
and a couple of more partitures from el "ruxideru" from the Centro Asturiano de Mendoza-Argentina.

My experience learning gaita was at the Center, first I was part of the dance stuff dancing jotas, xiringuelos and muneiras then percussion ( pandereta) and then gaita. We learned from people from other Centers like Buenos Aires and Rosario that came to teach us, then the Principality send gaiterus and now 3 of the memebers of Ruxideru are in the Escuela de Asturiania so they go to Asturias to learn.

During the four years that I was in the band(before coming to US to finish my architecture degree) We have the chance to play in many festivals,
theatres,parades and travel. After I left it kept growing! I was so upset of not being part of it... I spend almost 2 years without playing and when I got the chance to work in my thesis project I decided to do a School, Museum and workshop of bagpipes in Old town Alexandria and excuse to get back. It was a long run and many things happend after that.

Amazinly a week before my thesis Defense I got a letter from Valledor with very encoraging words, and then I had the chance to meet him in NY last year for Saint Patrick at the same time that year I met Bras and we were talking about the posibility to make this a real building. Last December I went to Asturies to present the project and I did quite a few interviews with Bras in diferent partidos in order to find a possible site. It was a dream....now a few months after I got the invitation of the Xornaes (from Pablo that also met in Asturies and is a good friend of my father) and I got the chance to get together with such and amazing group! I believe that all of us from different ways but focusing in a main goal like Alberto said can make this real Our Banda de Gaites will be sound in all over US.

Art, ask me to share and introduce myself to the group for thouse of you that didn't know me.

Saludu a todos
Natalia

ALBERTO

Natalia and Art:

I have the metodo by the Consejeria de Educación. I am making
copies now and I'll send it to you this week. I don't have the
tapes, so if you could make copies and send them to us, then we
all would be on the same page. It would be nice if we start with
the same metodo, which everybody agrees is the best.

I talked to Bras yesterday. His gaites are Si bemol, while the
three of us are do's. He tells me to keep practicing no matter
what "afinacion" we have; the fingering difference is not that
big, so even if we learn to play on a "do" we could always change
to a "si" later. One thing is for sure: we will need a "si" gaita
to play with them as a group. And I'd say that not just any "si",
but one very similar to the ones they play. That should be fine
because if we get the "subvencion", we will use Bras' expertise
to find some good gaites and he will direct us to the same
luthier that he uses, so we should have a very similar
instrument.

One last thing: I am also going to request a few flautas de
digitación, so we can use them to practice finger's movement
during the early learning process.

I'll keep you posted.

Alberto

ALBERTO

Regarding the flautes de digitación o practice punteiru (I guess
we are talking about the same thing, right?). I had one, but I
went into the black hole that I have at home, where things
disapear and never come back to life. (My kids have the key to
that hole).

So, how is your practice punteiru? does it make any sound? Is it
like a flute? Mine was just a wooden flute with the same furacus
that a gaita has. Very simple and very effective for practicing
as you could actually hear the music as oppose to just move your
fingers in your punteiru by itself with no music at all. I think
I paid 20 euros for it. Probably less. maybe we could ask carlos
directly to provide us with a few of them.

Alberto

ALBERTO

Well, I guess I should start reading my e-mails from the top...
You are answering my previous question here, right? It would be
great to have these practicing tools and they are very cheap. I
guess a "recorder" is what I call a "wooden flute", flauta de
digitacion or punteru de practica, correct? . If that's the case,
I say we contact Carlos as soon as possible and order him a few.
I am ready to put the 10 euros or whatever is needed for mailing
costs.

Alberto

ALBERTO

I say we order this punterus d'practica (for a better definition) as soon as possible and have them mail to us pronto. Everybody interested throws the amount needed and we could have them here the first week of April. What do you think?

ART

Hola, gaiteros (más o menos),

Carlos has answered my email and answered a lot of other questions we had. He sounds pretty excited!

I will answer Alberto's latest emails with my comments in black. The parts in blue are from Carlos. I'll write a separate email with questions about ordering the flautas/punteiros de práctica.


Carlos: ¡Qué estupenda noticia! A ver, como diría Jack el Destripador, "vamos por partes".

Punteiros de práctica
Con "punteiros de práctica" supongo que te referirás a flautas (recorders) trucadas para poder tocarlas con digitación de gaita, ¿no?

Art: Yes, I have one of these in plastic.

To answer Alberto's question, yes, it does make noise. The key is the same as a gaita in Re (key of D), whereas most gaitas are in Do (key of C) or Si bemol (key of Bb).

Eso no cuesta muy caro, supongo que el modelo más económico en las tiendas de música son las Hohner de plástico, de una sola pieza, que cuestan sobre 7 u 8 euros. No os cobraría nada por transformarlas, así que sólo el importe del vendedor. Sólo se tarda unos pocos minutos en modificarlas. Eso sí, si el original afina en C, una vez modificadas quedan en D. Esto no tiene mucha importancia, porque de lo que se trata es de que respondan a la digitación de la gaita asturiana, y así ya se pueden hacer prácticas, irse soltando con los movimientos de los dedos, practicar en cualquier sitio sin molestar a nadie, etc.

Ahora bien, una flauta es sólo una flauta, no una gaita. Hay importantes diferencias. Por ejemplo, la flauta no tiene fuelle, y con ella no puedes practicar el apretar con el brazo como se necesita en una gaita. La flauta se toca directamente con la boca y lleva poca presión de aire, mientras que en la gaita se sopla por un tubo diferente para llenar el fuelle, y la presión del aire es bastante mayor. Además la gaita posee otro tubo sonoro, el roncón, que hay que sincronizar en afinación con el punteru. Como ves, a la flauta le faltan demasiadas cosas. Es como si dijéramos "un parche", una solución provisional. Querer aprender a tocar la gaita practicando con una flauta es como si quisiéramos aprender a conducir un camión practicando con una bicicleta. Vale como solución temporal, pero a largo plazo el objetivo es aprender con una verdadera gaita.

Si por la razón que sea alguien os recomienda comprar unas flautas de madera que fabrica un constructor llamado Diógenes, no hay problema. Teneis la ventaja de que están construidas a propósito para que afinen en C. Pero eso sí, os saldrán bastante más caras. La única ventaja verdadera es precisamente ésa, la afinación en C.

Todo esto si a lo que te refieres con "punteiros de práctica" es a unas flautas. No sería problema ni de coste ni de tiempo. Ahora, si a lo que te refieres es a auténticos punteros de gaita, hechos de madera y con su correspondiente payuela, la cosa cambia. Eso sí cuesta mucho más (200 euros) y lleva mucho más tiempo en ser fabricado. De todas formas no recomiendo nunca practicar con un verdadero punteru en la boca, porque las payuelas se humedecen muchísimo y se estropean enseguida.

Whether punteiros have to be from the same maker
Respecto a la afinación de las gaitas de la futura banda, después de leer toda la cadena de mails que sigue más abajo, efectivamente, las bandas suenan o bien en C o bien en Bb. Son las dos tonalidades que resultan compatibles con otros instrumentos como guitarras, acordeones, violines, clarinetes, etc. Respecto a lo que dice Paul, no hay que guiarse por la gaita escocesa, me refiero al hecho de que en una banda escocesa todos los punteros han de ser del mismo fabricante o no afinarían. La gaita escocesa posee unas particularidades especiales y no se ajusta al afinador electrónico, lo que llamamos "afinación temperada". Es una reminiscencia histórica de viejas afinaciones, muy respetables para los escoceses, pero nada más. No son demasiado compatibles con otros instrumentos, porque en varios puntos de la escala presentan lo que se llama "tonos neutros", a medio camino entre el natural y el bemol. La afinación temperada requiere un E o un Eb, pero resulta que la escala escocesa te da una nota a medio camino de esas dos, de modo que para E suena demasiado grave, y para Eb demasiado agudo. Las desviaciones en la finación no están estandarizadas en Escocia, posiblemente respondiendo a variantes regionales o propias de cada constructor.

La gaita gallega o asturiana no presenta esos problemas. Son afinaciones mayormente temperadas, compatibles con cualquier otro instrumento. Eso sí, los punteros tienen que estar correctamente construidos y correctamente empayuelados, y eso es lo que no hacen tan bien todos los artesanos asturianos. Por lo tanto no importa tanto si los punteros de vuestras gaitas los fabrica la misma persona o no, pero tienen que estar perfectamente construidos. Mis gaitas son compatibles con las de Alberto Fernández, y de hecho hay algunas bandas que utilizan a la vez gaitas suyas y mías. Por ejemplo, Os Castros, de Taramundi, Noega, de Xixón, y algunas otras. Este artesano ya no admite más encargos, de modo que me están llegando a mí. El pasado mes de febrero, desde el día 1 hasta el 28, me encargaron 16 gaitas, lo que significa que, a un promedio de 1 gaita a la semana, se me alargó la lista de espera 4 meses. De éstas, acabo de entregar 3 para el Centro Asturiano de Vitoria, y tengo pendientes 4 o 5 para diferentes escuelas y alumnos de Pedro Pangua, Diego Pangua y Flavio Benito, además de otras 5 para Ricardo Soberado para sus alumnos del Conservatorio de Oviedo. En los dos conservatorios donde se están dando clases de gaita, el de Oviedo y el de Gijón, son bastante exigentes respecto a eso de la afinación, como los propios 4 profesores que te acabo de mencionar, así que creo que con eso te lo digo todo.

Which key: Do (C) or Si bemol (Bb)
Ahora llegamos a la siguiente cuestión. Do o SI bemol? Eso va en gustos, aunque normalmente la gente siempre empieza con Do (C). Son gaitas más fáciles de manejar, los punteros no son tan largos y por tanto hay menos separación de los dedos. Eso las hace más apropiadas para alguien que empieza. Además, si acabáis viniendo alguien de USA a las clases de los Cursos de Asturianía, todo el mundo acude con gaitas en Do, y no hay gaitas en depósito para quien no la tenga, cada alumno tiene que traer la suya. Se podría dar clase a una persona con una gaita en Si bemol y los demás en Do, pero luego hay que tocar algunas piezas todos juntos y la de Si bemol no puede hacerlo con las otras.

Por otro lado, el roncón de la gaita de Paul es de Do....

Alberto Prieto ya tiene una gaita en Do....

(Art: He has plans make me one in Do, too.)

Así que ya teneis 3 gaitas en Do. Me parece lógico, a la vista de todo lo dicho, que empezarais a formar una agrupación afinada en Do. Si más tarde quereis pasar a Si bemol, podeis encargar las gaitas en esa tonalidad o bien adaptarles unos punteros en esa afinación.

Todo esto, claro, si es que no teneis de antemano la pretensión de tocar con Corvera. Pero para eso os faltará aún mucho tiempo.

Thoughts about what kind of band we want to be
(Here he is talking about the style of gaita bands that show a heavy influence from Scotland in their martial (military-like) marching and drumming, and even in their instruments. The Scottish-influenced instruments (like those we saw in Corvera's band) often have three roncones (drones), larger fuelles (bags), etc. that are not traditionally Asturian.)

No comparto ese modelo de gaitas en la onda escocesa, tres roncones, hinchar al máximo las mejillas, sopletes larguísimos, muchos aspavientos, marcialidad, etc. ¿Queremos ser asturianos, o "asturceses"? [I think he's saying that we would look and sound like astur-escoceses.] ... [este estilo es].... una corriente, pero no la única.

Art: As I think I said earlier, I share his discomfort with the Scottish martial style of bandas de gaites. I was impressed with Pilar Fernández's explanation (at the conference) of how young Asturians are reinterpreting the tradition in order to keep it alive. I like the idea that we can interpret the tradition in new ways, but I'm not sure I want to adopt a mostly foreign style when we could create something truly Asturian. On the other hand, I'd enjoy marching with Corvera on special occasions like S. Patricio. So I'm not suggesting that we be rigid purists. I'd simply rather not learn and perform only that style.

About support from the Principality
Respecto a los puentes con el gobierno asturiano, no os lleveis una impresión equivocada. Paul puede dejar a un lado las reticencias respecto a relacionarse sólo con una parte de este gobierno, la de Izquierda Unida. A todos los efectos con quien os estais relacionando es con el gobierno asturiano, de una forma institucional, no con un partido concreto. Eso sí, en una cosa tiene razón, dentro de nada hay elecciones y el señor Valledor puede desaparecer del mapa, no salir elegido, o bien no tener la Consejería que tiene ahora, sino otra diferente que no tenga ninguna relación con los emigrantes. Luis Miguel Romero y Chema Vega no son funcionarios, ni cargos elegidos. Son personas escogidas por Valledor para desempeñar esas funciones. O dicho de otro modo, si Valledor desaparece, ellos también.

Yo lo que os recomendaría es que siguiérais los mismos cauces que siguen los demás descendientes de asturianos, a través del Consejo de Comunidades Asturianas. Ellos son los que organizan los Cursos de Asturianía, de los cuales también soy yo monitor. Ahí es donde de forma sistemática y regular se imparten clases de gaita, percusión, baile, indumentaria, llingua asturiana, etnografía, etc. Y la continuidad de estos cursos no se va a ver interrumpida por el resultado de unas elecciones. A esta gente podeis solicitarle el envío de profesores, y si constituís un Centro Asturiano específico ya teneis el cauce para relacionaros institucionalmente con ellos. No os van a exigir nada a cambio, podeis gestionar ese Centro como querais. Quería concertar una cita con Manuel Fernández de la Cera (ya hablé con su secretaria) para explicarle vuestro caso. Pienso que sería estupendo aprovechar el siguiente viaje de Paul en Mayo de modo que acudiéramos los dos a esa entrevista. Además, Manolo es de Tineu, y seguro que le encanta escuchar a Paul hablar en asturiano occidental (ya te comenté que lo domina a la perfección).

Después que tengais establecidos esos cauces regulares con el gobierno asturiano, teneis los mismos derechos. La Consejería de Cultura tiene un capítulo anual de subvenciones para compra de materiales para bandas de gaitas, grupos de baile, etc, contra presentación de las correspondientes facturas. Así no es que os regalen los instrumentos, pero sí obteneis una parte del coste de gaitas, tambores, panderetas, castañuelas, trajes, etc. Esto ya te digo que no sería una excepción con vosotros, sino que es el funcionamiento habitual dentro de Asturies y con los diferentes Centros Asturianos de España y del mundo.

Art: It may make sense for us to create a "long-distance Centro Asturiano." Or perhaps we should simply view this band as a first step in an experiment which has the larger goal of forming a Centro. (From what I've heard, it seems likely that to get the kind of government support Carlos is talking about we'd have to be classified as something like a Centro Asturiano.)

I realize that ASUSA, if it's like ASMA, may have some issues with the Centro idea. Perhaps what we're attempting could become a new model which could bridge the ugly generational divide seems to afflict many of the Centros, including the one in Tampa.

¿Or maybe Alberto is suggesting that we make an end-run around the Centros and the related government bureaucrats? Would taking this shortcut now possibly limit our options later? (Of course, if the turf-guarding Centros wanted to exclude us, we'd experience the same problems.)

¿Does anyone else have any thoughts on this?

.... Adelante con el proyecto y ya me contareis.

Un saludu, amigos,
Art

ALBERTO

Art:

thanks for this message. Lots of important info here! I'd like to
have his phone number too if possible; I had it, but I lost it. I
know him personally and I'd like to thank him for his support
with this.

OK:

1) All clear with the recorders. they are the first necessary
step to learn. We need as many as we can get, and also we can
tell people to be creative about it. I am using a pink plastic
recorder that my son got for his birthday. The holes are the same
to the ones on a gaita, although much bigger, but it works out
for me at this point.

I have an idea regarding recorders and fairness on how to
distribute the materials (once/if we finally get them) . We could
send a recorder and a copy of a metodo to everybody who is
interested in learning to play gaita. That would be inexpensive
enough. We will require that people learn how to move the
fingers, read the notes and play a certain number of songs with
the recorder and familiarize themselves with the gaita theory.
Once that goal is achieved (and if we finally get the gaites)
then we could send that person the instrument.


2) Afinacion en DO, Si/ gaita escocesa. Tricky. I'd say right now
let's learn with whatever gaita we have (Do, Si, gallega...).
When we request the gaitas to form the band (I am writing the
proposal now) we will have to chose. The reason why I think we
should request Si (Bb) is because that's the one Corvera uses.
That's an important factor because the main goal of our banda for
the near future is to march with Corvera for St Pat's. And that's
an important goal that can motivate many people. We know that
Corvera is going to do it for a few years and we need their
(Bras') guidance and help in other to do it. Let's be realistic:
next year in a best case scenario maybe we can get 4-5 US
gaiteros max. to play and march with Corvera. We can not do it
alone and without Corvera there is no marching in St. Pat's.
Remember that Bras is the Marshall for all Europe. I hear Bs are
a little more complicated to play, but with our energy I am sure
we can manage that.

regarding the Scottish influence... well, Bras told me that the
three roncones are there just to make the sound louder, something
that is needed when you march in front of 2 million people. I see
it as resource that they do for this very special ocassion, but I
don't think that means changing the tradition. The "martial"
marching style... anytime I see an asturian band marching I see
them following some order. I don't see any martiality or any
problems in it.

3) support from the Principality.

the trickiest of all. As I said, I am writing the proposal now
to the Conseyeria de Cultura, not to one specific individual, so
I hope that even if there are changes after May 27, the proposal
will continue. The Consejo de Comunidades is directed by manolo
de la cera; we met him last year at the Simposio. I guess that
could give us an advantage there. We could try and ask them too,
but it is my understanding that they only responds to official
Centros Asturianos that have the certificate of "asturiania". In
order to become a Centro Asturiano, you need a social center with
a physical location, a specific number af Asturias-born members
and many other burocratic requirements. The creation of such a
virtual centro would clash with the Consejo's traditional view of
what a Centro is. In any case we could try it, although it would
require some serious conversations on our part and it would take
months if not years to come up with something on their side.

These are my thoughts anyway; please share any feedback

Alberto

TONY / EL TAMPEÑO

Queridos Paisanos,

Thanks for keeping me updated. As I relayed to Alberto yesterday, I am frustrated that I cannot guarantee the participation of CA de Tampa in this important adventure. My position in the CA is that of member (not on the Board) and I, along with others, are dealing with a huge "generation gap". I think this is something that Natalia dealt with in the Ca de Mendoza. Our board is meeting this Thursday 29March and I will submit a proposal that the CA de Tampa agree, in principle, to be one of several "co-sponsors" of the emerging Banda de Gaites de USA. What that would mean for the Ca de Tampa is that we would agree to make available our facilities free of charge for practice sessions, we would allow use of our mailing lists to publicize the project and we would allow use of our name and status to support the project. I will emphasize that there would be no direct monetary costs to the Centro at this time. In exchange, the Ca de Tampa would benefit immensely from "networking" with the powers that be in Asturias concerning cultural activities and our visibility would increase. It seems that the old guard is always leery of formal commitments of any kind..the gist of my proposal would be that there is nothing to lose by participating in this experiment, but the potential benefits are great. I'm anticipating that the CA Board may agree, with the stipulation that any participants in our local Tampa gaitero group be members of the Ca, since technically, only members may use certain facilities free of charge. While I don't want to make it difficult or expensive for people to participate in the Banda, this may be a good idea. Our membership fees are reasonable, as low as $35.00 per year for a non-voting membership. (This might be only for those gaiteros that live in this area and would use the facilities regularly for practice, etc. I am comfortable in assuming that any "visiting" gaiteros could join us for a practice session with no problem).

Alberto, on the point concerning "official Centro Asturiano" status...where can I go for more info? CA de Tampa has, at this time, few, if any native-born Asturianos. I personally know 3 people my age who were born in Asturias and came to Tampa as children in the 1950's. They are interested in joining CA de Tampa but I'm wondering if our status as an "official" Centro with a certificate of Asturiania is current or in jeopardy.

Didn't mean to bore all of you with our local melodrama here in Tampa, but I wanted to run this by you and please give me some feedback if you think this is a reasonable approach to use with our Board of Directors. I don't want to misrepresent in any way the vision that seems to be emerging for our Banda.

Hope to hear from all of you soon.

Abrazos,
Tony Carreno

BOB

Hola amigos,

I agree wholeheartedly with getting the recorders now, as long as they have
the same fingering as the gaites, and with getting gaites in the same key as
Corvera.

I've never played a wind instrument except a harmonica, but I did study
piano for ten years and am self taught on guitar and 5-string banjo
(frailing, not Scrubbs style picking), although I haven't played much of
anything for decades. In any event, I'm willing to learn to play the gaita
asturiana and to find a host site (I can easy reserve a room at the
university) for people from New England. New York is only an hour and a
half train ride away, and I could pick up people at the train station,
transport them to practice, have dinner with them (could be fun - I'll cook
a fabada or some other Asturian dish), and take them back to the station
afterward. I could probably also find a community site in Rockport if there
is a Boston centered group.

Evelyn had a good time at the conference, and may be intereted in learning
to play herself. She, and her whole family, are blessed with perfect pitch.
Her father was an arranger for the old Arthur Godfrey Show on CBS, for Paul
Whitman, and for many other well-know figures. .

I don't think the Centro Asturiano de Nueva York has a physical location.
Rather, they meet at a local resturant, if my memory is correct. In any
event, they have no physical facility of their own. I sensed a bit of
negativity from Andrés concerning that group - he didn't think they would
support the Pace University meeting, and he said they were not sure that the
bandas de gaiteros from Asturias would be at the St. Pat's parade this year.
I could be wrong, of course. However, if a physical location need not be
owned by the organization, would there be government support for a centro
asturiano sin murallas for the EEUU? After all, asturinus here are widely
scattered, although there are a few points of concentration. We had talked
about starting one around AsturianUS.org some years ago, but quickly dropped
the idea after learning that it would intensely involve us in a political
process about which we knew very little (We had relatively few members in
Asturias at the time.). Maybe the idea could be revived under the joint
sponsorship of ASUSA and AsturianUS.org

For what it's worth, Manuel de la Cera is a former teacher of Iván, the
husband of Terechu, one of the moderators of our website. I'm not sure how
much of a connection still exists, but we could ask her.

Abrazus pa toos y toes.

Bob