ARTISTICCONTENTS CantoGeneral:PoetrybyPabloNeruda/MusicbyMikisTheodorakis&PaintingsbyAlfredoArreguín PARTEUNO:NATURE LaNaturaleza(SacrificionaAmazonia),P.1MUSICforLEARNING: Preludio:AWalkintheJungle Unpaseoenlaselva,P.3SextetforFlute,StringQuartet, Painting:Paraíso,P.13 &PianoandÉtudesforsolocello,Theodorakis Poem/Music:Algunasbestias,P.14 ActoUno:Carmen sexile ElexiliodeCarmen,P.19ConcertoforViolin&Orchestra Painting:IslaNegra,P.31 indmajor,op.61,beethoven Poem/Music:Voyavivir,P.32,Amipartido&Requiem,P.38 ActoDos:TheOdysseyBegins Laodiseaempieza,P.39ConcertoforPiano&Orchestra Painting:TrilogíadelaIndependenciadeMéxico,P.53No.23,inAMajor,KV488,Mozart Poem/Music:Loslibertadores,P.54 PARTEDOS:RELATIONS Relaciones(SelvaNaranja),P.61 ActoTres:Heroes Héroes,P.63 ConcertoforPiano&StringQuartet, Painting:CuacoQuilt,P.75 Theodorakis Poem/Music:Lautaro(1550):Educacióndelcacique,P.75 ActoCuatro:Thieves Ladrones,P.81 ConcertoforPiano&OrchestraNo.5 Painting:HaciaelSur,P.93inB flatmajor,op.73,beethoven Poem/Music:Vienenlospájaros,P.93 ActoCinco:RevealingtheTruth RevelandolaVerdad,P.101StringQuartets,Arriaga Painting:Caleta,P.113 Poem/Music:Sandino(1926),P.114,LaUnitedFruitCo,Inc.,P.115 PARTETRES:UNITEDINTHESTRUGGLE Unidosenlalucha(Herencia),P.121 ActoSeis:TheAccident Elaccidente,P.123 Iberia,Albéniz Painting:LaMalinche,P.135 Poem/Music:AmorAmérica(1400),P.134 ActoSiete:Women Mujeres,P.141 StringQuartetinB flatmajor,beethoven Paintings:Sueñosquenodespiertan,P.145 WallflowerbySusanLytle,P.149 Zapata sstables,p.151 Poem/Music: AEmilianoZapataconmúsicadeTataNacho,P.152 ActoOcho:TheTurquoiseLight Laluzdeturqueza,P.159 Soundtrack,StateofSiege, Painting:Cenote,P.171 Theodorakis Poem/Music:Américainsurrecta(1800)),P.173,Vegetaciones,P.174, AlturasdeMacchuPicchuVI,P.181 Preludio:Encore:Unpaseoenlaselva,P.3 ConcertoforViolin&OrchestrainA MajorNo.5,Mozart AnecdotesfromArreguín slife P34,57,77,97,117,136,154,177 Findingvocabularyincontext P.16,36,59,79,99,118,139,157,179 CategorizedMini dictionariesfororalpracticesessions P183 Grammar,verbconjugator,anddictionaries:Volume2
Verónica y Los Latinos A room was dedicated to Arreguín portraits in the exhibition Framing Memory: Portraiture Now, at the Smithsonian National Portrait Gallery, in 2007. The Return to Aztlán will remain in their permanent collection. ACKNOWLEDGMENTS: I am grateful to today s researchers in neurosience, to Drs. Lozanov and Gateva for their ground breaking work and teaching, to Mr. Mikis Theodorakis, Rena Parmenidou, Petros Pandis, and Maria Farandouri, for their time and generosity, to Alfredo Arreguín, Susan Lytle, and Lesley Rialto for their artwork, anecdotes, and friendship, to the Hispanic Division of the Library of Congress in Washington D.C. for being like a second home for more than two years, to the Neruda Foundation, for assisting me when I was in Santiago de Chile, and to William O Daly for help with translation issues. Also, without ideas and patience from my family Mark, Kyle, Kaye and Brooke, without encouragement from Dr. Eduardo Camacho at Middlebury College s Madrid campus, without the Spanish editing done by Lourdes Young and Ana Pizarro, and without all of the challenges that my Spanish students had to endure at Skagit Valley College, for nearly three years of experimentation, this book would be seriously lacking. Mil gracias. Susan Lytle, Alison Miller and Alfredo Arreguín ii
NiñosdeOtavalo,Ecuador WELCOMETO JOYFULLEARNINGBEYONDCHILDHOOD Want to learn Spanish? If you were between the age of eight and puberty, you d soonspeaklikeanative.youwouldstillbewithinwhatisrecognizedasthe criticalperiod forlearninglanguage,soyoucouldeasilypickuptwoatonce.yournativetonguewouldnot yet be monopolizing the designated brain space, continuously competing to maintain its dominion. 1 Thematurebrainissowell mapped thatlearninganewlanguagecanrequire a great deal more effort and energy, but special conditions can take you back to happier learning.althoughyournativelanguagerulestheroost,neuroscienceshowsthatthebrain itselfis plastic,meaningthatitcanchange. Norman Doidge, M.D., poses the question, How many of us have taken language courses over years and not learned as much as when we went to the country and immersed ourselves in the language for a far shorter period? 2 Immersion produces far fasterresultsbecauseitiscompatiblewiththewaythebrainworks.neuroscientistmichael Merzenich contends that when learning occurs in a way consistent with the laws that govern brain plasticity, the mental machinery of the brain can be improved so that we learn and perceive with greater precision, speed and retention. 3 He sees the brain as a living and hungry creature that with nutritious food increases its ability to learn. Merzenich even recommends learning a language during old age. Because of the focused 1 Doidge, Norman, M.D., The Brain that Changes Itself: Stories of Personal Triumph from the Frontiers of Brain Science, 2007, Penguin Books, N.Y., p. 60. 2 IBID, p. 155. 3 IBID, p. 46 iii
attention that learning a language requires, it has been shown to improve memory in general, 4 meaningthatit spossibletosharpenyourmentalacuitybystudyingspanish. Long before The Brain that Changes Itself was published, Bulgarian Dr. Georgi Lozanov began a science called Suggestology, and with Dr. Evelina Gateva, created Suggestopedia, a foreign language system that was tested by many thousands of adults in their institute in Sofia, with good results. Their learning system recognizes the plastic characteristicsofthebrain,andinthe1970sand80s,spreadtoothereuropeancountries, America,AsiaandAfrica,wheremanyteachersarestillusingit.LagiradeVerónicayLos LatinosreflectsmanyofthebasicprinciplesofLozanovandGateva ssystem,thatilearned from them in 1979 and practiced for more than thirty years. I recommend immersion or semi immersioncommunicativeapproachesbeusedwiththistextbook. Whileyouarelearninghowtospeak,understand,readandwriteSpanishyouwill also learn aboutculture, through an integration of the arts. You can expect to experience learning conditions that are compatible with the way the brain works: massed practice of thelanguagewithoutboringrepetition,theplacementofcommunicationinthespotlight,a concscious delay of the grammar lessons, a calming and artistic environment, preparation forreallifeexperienceswiththelanguage,andaspiritoffun.theseaspectsoftheapproach, effectivenotonlyinthelozanov/gatevamethodologybutalsorecognizedinmanyrecent communicative and contextual teaching methods, offer you promising results on your pathwayaheadasyoumasterthespanishlanguage. ABOUTCANTOGENERAL Chile snobellaureatepablo Neruda,picturedontheleft,and Greece s composer Mikis Theodorakis, on the right, had muchincommonwhentheymet in Paris, in 1972. At that time, they were among the most 4 IBID, p. 87 iv
prolificartistsofthetwentiethcenturyintheirfields.bothwerebelovedintheirrespective countries, and had been forced to live in hiding, ultimately fleeing into exile for political reasons, Their art brought messages of hope to people in times of oppression and great cruelty.theodorakismusicalizedtwelvepoemsfromneruda sencyclopediccantogeneral, spreadinghisversetoagreaterpublicthroughmorethan1000concertsin38countries. Canto General: Oratory for Soloists, Chorus and Orchestra, one of the works by Theodorakisthathasmostoftenperformedinternationally,secondonlytoTheBalletZorba, isrelevantintoday stumultuousanduncertainworld.itisstillenthusiasticallyreceivedby audiences around the world. Its blend of universal themes is a microcosm of Latin American nature, history, and political upheavals. As you learn the language, you will simultaneously gain an insight into the flora and fauna, the iconic heroes and antiheroes, andandotherculturalaspectsofspanishspeakingcountries. The nine acts of the play also explore unique patterns and designs painted by Mexican born Alfredo Arreguín, one of the most recognized Hispanic artists in the United States.Alfredo,hiswifeSusananddaughterLesleyhavegenerouslyallowedustopublish their art and have told stories about their lives to help you learn Spanish. His paintings illustrate Canto general so well that it seems to have been his purpose. Professor Lauro Flores at the University of Washington, in his book Alfredo Arreguín, Patterns of Dreams and Nature, compares Arreguín s works to Neruda s Canto general, noting parallels between the lives of the poet and the painter. This powerful integration of poetry, music and art will guide your language learning in unexpected ways. LesleyRialto,AlfredoArreguín,andSusanLytle atafamilyexhibition,in2008,thatcelebrated artworkcreatedbyallthreeartists. v
Characters VerónicayLosLatinos Amusicalgroupsinging CantoGeneral intheirworldtours: Musicians: DonAntonioelAnciano Generousandrobust125 year oldperuvianshaman,healer,andpercussionist Verónica Mysteriouslybeautifulfemalevocalist,ofgreattendernessandstrength,possiblyfroma differentuniverse Músculos BlackCubanMalesoloist,sostrongthatheinadvertentlybreaksathousandthings Gloria CostaRicanconductorofthegroup,astallastheAndesMountains,hugelyfeminine Pepe PianistandtangodancerfromPatagonia,sosmallthathe scalled Penguin; heand Gloriaarealovingcouplewhoarguefromsunrisetosunset Eulalia ExiledChileanflutist,whoserealnameisCarmen,soshythatsheplaysintheconcerts behindthecurtain OtherCharacters: Juan Eulalia sfriend,whomarriedherniececatalina,afterthecoupd état Estrella&Rosa JuanandCatalina sdaughters,11and5yearsofage Sabelotodo Estrella smonkey vi