Jose has participated as a soloist with his own shows, at numerous international festivals. These are some of the festivals where he has appeared with: “ANIMALIA” ” at ’Visiting Arlekin’ Puppet Festival in Omsk, Russia 2011, at LUT Puppet Festival  in Sarajevo, Bosnia and Herzegovina 2011, at  Subotica Children’s  Theatre Festival in Serbia 2011, at Gyermekszinhazi Festival in Szeged Hungary 2011, at Shanghai’s ‘Golden Magnolia’ Puppet Festival in China 2010, at Festival Neapolis in Nabeul Tunisia 2009, at Canela’s ’Bonecos’ Festival in Brasil 2008, at the ’High Fest’ Festival in Armenia 2007, at ‘FITEM’ Puppet Festival in Venezuela 2007, at ‘Euromarionete’ Festival in Arad- Romania 2007, at Tehran’s Puppet Festival in Iran 2006, at Buxton Puppet Festival in England 2006, at the Festival of Puppetry and Other Forms of Animation in Kharkiv, Ukraine 2006.

”A LA CARTE”  at World Puppet Carnival in Almaty, Kazakhstan 2011, at ‘Valise’ Puppet Festival in Lomza, Poland 2009. “RITUAL SCISSORS DANCE” (under the artistic name of ‘Pishtaco’) at the Royal Opera House in London 2010, at Guadalajara Puppet Festival in Spain 2010, at the Edinburgh Fringe Festival in Scotland 2000, The Major’s Thames Festival, The Museum of London 2006. “MINIMO” at Buiten Gewoon Festival in Doetinchem, Holland 2007, at the Iper Straatanimatic Festival in Belgium 2007, at the Shakespeare’s Globe Theatre 2002. “BURLESQUE” at the Biennale of Adult Puppet Theatre in Lima, Peru 2006.

“AMAZONIAN VISIONS” at the Accidental Festival in London 2011, at the Native Spirit Festival in London 2009. “OH…PERA” at the CSSD London 2005.
“THE PONGO’S DREAM” at the Bolivar Hall in London 2010.”THE AGONY OF RASU NITI” (directed by Sara Joffree), at the Cervantes Institute in London 1999.
Jose trained in Arts Education, delivers mime, puppetry and Scissors Dance classes at schools and other
venues.

Jose is a member of the British UNIMA

In parallel to stage works, Jose took part in shorts and commercials for Movies and TV. Similarly is involved in Music projects.

Presentado en una mixtura de abstraccion y simbolismo.

Creación y actuación: Jose Navarro

Títeres hechos por: Jonathan Hayter

Música Original Compuesta por: Cameron McBride

Duración: 50 Minutos

Requerimientos Técnicos: Equipo de sonido, Luces, proyector, una mesa, fondo negro

A puppet and multimedia performance, based on ancient Andean spiritual iconography, like the Sun God Wiracocha (Source of life), with his anthropomorphic imagery recreated as a hybrid of human and animals; such as, condor, puma, jaguar, serpents, and sea creatures.

Presented with a blend abstraction and symbolism, as non narrative story

Devised and performed by: Jose Navarro

Puppets made by: Jonathan Hayter

Original Music composed by: Cameron McBride

Length: 50 Minutes

Technical Requirements: PA sound system for CD or MP3 player, Lights, projector, a table, black background

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Keep an eye on this blog.

Gallery by an SEO in Atlanta

“This is an authentic piece of ritual dance from the high Andes of Perú”

“Ritual aspects involve putting objects up the nose, are rather unsightly. For specialist tastes only” THE SCOTSMAN

Adapted and Performed by: José Navarro ‘Pishtaco’

Glove Puppets by: José Navarro

Flat Puppets by: Ayman Hmdom

Especially Recorded Music:
Violín: Andrés Lares León ‘Chimango’
Harp: Gregorio Condori ‘Lapla’

Length: 55 Minutes
Technical Requirements: PA Sound System, Lights

http://www.youtube.com/watch?v=PT3G9LUOLrc

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Video sample click here
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BACKGROUND INFORMATION

“Danzak” (Scissors Dancers)
Information and Research about the Scissors Dance

At the hearth of this dance there is a form of ‘competition’, Atipanakuy in the Quechua language, where two Danzaks or dancers each one with their own musicians challenge one another; the entire event is accompanied by live music. Two musicians play a variety of melodies on harp and violin; accompanying the percussive rhythms of the dancers who skillfully sound a pair of metal blades resembling scissors, which are held and moved by the dancer in one of his hands. The dancers perform in turn, each trying to surpass the other.

The costume of the dancer is bright on the eye and full of symbolic meaning. The dance is a syncretic _expression of Spanish influence and Andean Native roots. The Spanish elements are seen to some extent in the style and colors of the costume, and the musical instruments. Native Andean pre-Inca roots are lived out in the content and spirit of the ritual. It has both religious and social origins.

Because of its links with pre-colonial Andean rituals, the dance was forced underground and had to be performed in secret. It was associated with the great religious rebellions in the 16th century the Taki Onqoy, which called for the restoration of the regional Wakas (Shrines) cults and the expulsion of the catholic cults after the fall of the Incas. It has gone from being an _expression of regional culture, and has been declared a symbol of Peru’s artistic heritage.

The dance keeps alive the ancestral rites and the cult of Andean Gods such as the Apus or Tayta Wamani, spirits which live in the sacred mountains and are represented by the condor.

Every year on Easter Friday, the same day on which Christ died, the dead and the living are reconnected. A special ceremony takes place in order to consecrate the dance and the music. All of the dancers make their way to a sacred place where their years of hard work are rewarded by formal recognition on the part of their master. Chicha de Jora a form of alcohol is imbibed. This is followed by the Pacha Tinka ceremony, where the dancer’s costume is laid out on the ground, with the sleeves pointing outwards. Another ritual gesture takes place. Alcohol is sprinkled on the costume and the ground, as a way of showing respect and asking protection from the Wamanis and the ancestors.

A dancer is not allowed to dance without completing the Pacha Tinka ceremony. It is only then that the music begins, the dancer puts on his costume and the dance commences. The dancers start with simple steps which progresses to more and more complex and highly skilled movements, until at the end, culminates with tests of bravery, magic and feats of endurance, in which, each dancer has to prove his courage and magical skills through fakirs like acts.

Without doubt this dance symbolizes the very deep roots of Peruvian Andean culture, and has been recognised by Unesco as Intangible Cultural Heritage of Humanity.

“A physically adept and technically accomplished puppeteer and mime” ANIMATIONS ONLINE

Devised and Performed by: José Navarro
Original Music and Sound Design: Valentin Hoffmann
Length: 55 Minutes
Technical Requirements: PA Sound System, lights, black background.
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“A physically adept and technically accomplished puppeteer and mime” ANIMATIONS ONLINE

Devised and Performed by: José Navarro
Original Music and Sound Design: Valentin Hoffmann
Length: 55 Minutes
Technical Requirements: PA Sound System, lights, black background.

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