(applause). >> (speaking spanish). >> one of the stars also and they would play with the guitar which is not here today and also the violin. >> (speaking spanish). >> and it was called sapa tao.

>> (speaking spanish). >> okay. so dance to the sound of a violin or the guitar is one of the unique forms of perare you vaifian dance and brought with the african slave trade in the 16th century. the spaniards started it and not only as a form of social dominance but ways of enforce their ideology and with the footwork and done individually or in a group. >> (speaking spanish).

>> so we started with a certain type of dance until at least two dance we challenge each other, yes. >> (speaking spanish).

(applause). >> (speaking spanish) (applause).

>> this type of patterns that he just performed are called this and this is a communication with the son and the mother and when we die, and the second one is with the hint he just showed. >> (speaking spanish).

>> most of the instruments that werwere performed by the africas in p purrue and the different groups and they spoke different languages so it was very hard for them to communicate. >> (speaking spanish). >> so the communication will be done by sign. >> (speaking spanish). >> they didn't talk but they could communicate each other. >> (speaking spanish).

>> and the form of communication and many of the movements were -- they were used in the dances that we have today. >> (speaking spanish). >> this movement -- >> span spanish. >> are >> >> (speaking spanish). >> are here and it means soul. >> (speaking spanish). >> and when we go to move our bodies -- >> (speaking spanish). >> they mean the essence. >> (speaking spanish).

>> when they go to work the earth -- >> (speaking spanish). >> is the contact with our mother nature. >>nature -- >> (speaking spanish). >> that will live us food, take care of us and receive us before we die. >> (speaking spanish). >> we also have this and movement of work. >> (speaking spanish). >> or conversation. >> (speaking spanish). >> which is the key to receive love. >> (speaking spanish). >> and all these type of

movements were followed by this style of dance with its own co n coring on gravy. >> >> (speaking spanish) (music).

(applause).

>> can you play the music please? >> i want to dance with everybody. >> well, he's not there. (music). >> okay do you have any questions? we need to have some minutes and would like to answer some questions. yes? >> (inaudible). >> is it hard to dance? >> (speaking spanish). >> it's not difficult. you just got to put a lot of effort into it. and okay so we're teaching

classes at the cultural center on saturdays from two to three we teach cajon and three to four we teach dance. >> (speaking spanish). >> (inaudible). >> (speaking spanish). >> yeah it does. >> (speaking spanish). >> (inaudible). >> (speaking spanish). >> but it will change, yes, of course if you do that. >> (inaudible). >> well, -- (speaking

spanish). >> (speaking spanish). >> it's a type of plywood, so this one in particular -- yeah. >> (speaking spanish). >> (inaudible). >> (speaking spanish). >> in the language it's called dulo. >> (speaking spanish). >> yes? >> (inaudible). >> (speaking spanish).

>> yeah. >> (speaking spanish). >> (laughter). >> yes. >> (inaudible). >> in the 16th century, about 1500. yeah. >> (inaudible). >> no. no, no, just you have to leave this room thinking we did not kill anybody for that. yes, you had a question? >> (inaudible).

>> yeah. well, yes, there are -- in cities like the northern part and lima there are certain districts like -- certain ones and the capital and to the south of lima the district there and to the south almost border to chile there is a community that is unknown that we are doing research right now on it. yes, the value there and with chile and all of that area. yes? >> (inaudible). >> no -- you know what it is. it's a rubber stamp of the tube

that is heating it. you can -- >> (inaudible). >> no it's a tube. somebody had a question. i don't know if we are running out of time or we have to go or -- >> (inaudible). >> (speaking spanish). i think it was done two years ago. it's peru veian. >> (inaudible). >> (speaking spanish) the style in the music to hit all those notes back and forth and then

the guitar which is a spanish instrument and the lyrics are from spain and the type of song is indigenous and the type of percussion can is african. >> (inaudible). >> yeah, you could hear in the music. it has that pitch and that sadness to it. >> (inaudible). >> okay. so can you play the first song? we will show you a little bit and then you guys can come up and dance.

(music).

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(music) >> herb theatre,open rehearsal.

listen to the rehearsal. i think it is fun for them, they see our work process, our discussions, the decisions we make. it is good for us. we kind of behavior little bit when we have people in the audience. msk (music) >> we are rehearsing for our most expensive tour; plus two concerts here. we are proud that the growth of the orchestra, and how it is expanded and it is being accepted. my ambition when i came on as music director here -- it was evident we needed absolutely excellent work. also evident to me that i thought

everyone should know that. this was my purpose. and after we opened, which was a spectacular opening concert about five weeks after that the economy completely crashed. my plan -- and i'm absolutely dogmatic about my plans --were delayed slightly. i would say that in this very difficult timefor the arts and everyone, especially the arts, it's phenomenal how new century has grown where many unfortunate organizations have stopped. during this period we got ourselves on national radio presence; we started touring, releasing cds, a dvd. we continue to tour.

reputation grows and grows and grows and it has never stopped going forward. msk(music) >> the bay area knows the orchestra. you maybe take things for granted a little bit. that is simply not the case will go on the road. the audiences go crazy. they don't see vitality like this on stage. we are capable of conveying joy when we play. msk(music) >> any performance that we do, that a program, that will be something on the program that you haven't heard before. string orchestra repertoire is pretty small. i used to be boxed into small repertoire.

i kept constantly looking for new repertoire and commissioning new arrangements. if you look at the first of the program you have very early, young vibrant mendelson; fabulous opener and then you have this fabulous concerto written for us in the orchestra. is our gift. msk(music) >> and then you have strauss, extraordinary piece. the most challenging of all. string orchestra work. 23 solo instrument, no violin section, now viola section; everybody is responsible for their part in this piece. the challenge is something that i felt not only that we could

do , absolutely could do, but i wanted to show off. i can't tell you how aware i am of the audience. not only what i hear but their vibes, so strong. i have been doing this for a long time. i kind of make them feel what i want them to feel. there is nobody in that audience or anywhere that is not going to know that particular song by the fourth note. and that is our encore on tour. by the way.