The DOS VATOS-MÉXICO DVD is a unique collection of mystical fiction and ethnographic films inspired by the beauty and indigenous magic of Oaxaca, México.

DAY OF THE DEAD IN TEOTITLÁN DEL VALLE

This documentary witnesses the return of Zapotec spirits to the pueblo. The smell of marigolds in the graveyard beckons them to enjoy tamales, mescal, and other sensory favorites of their living life.                                                   

12 Minutes, Documentary

BOLA DE ORO

Capturing the unique musical heritage of the Isthmus of Oaxaca, Bola de Oro was produced with acclaimed Istmeño musician and guitar virtuoso José Hinojosa.                  

9 Minutes, Documentary

KIT KAT

Kit Kat races to save her father’s soul amidst the beauty and magic of Oaxaca.                                                        

14 Minutes, Fiction

GUIGU BICUNISA-THE OTTER RIVER

Produced in association with the Foro Ecologico de Juchitán, an environmental NGO.  This mixed media ecological video was created by high school students and promotes the conservation of Juchitán’s sacred river. The documentary had its premiere during a unique riverbed screening with 4,000 Juchitecans. 

14 Minutes, Documentary

DOS VATOS-MÉXICO DVDS now for sale!

Order directly from the filmmakers!  All proceeds go directly into completing our PRECIOUS KNOWLEDGE documentary.

All prices include postage and handling:

PRICES

Individuals:   $28

Public library, high school, non-profit:   $40

University:  $150

TO ORDER VISIT:

http://www.dosvatos.com/Contact/

We will contact you immediately with DVD ordering instructions.

Help support the completion of our PRECIOUS KNOWLEDGE documentary!  Gracias from the Dos Vatos team, Eren and Ari

“A fresh, humanizing approach to a subject that has been thoroughly demonized in recent years….”        

Walter Goodman, The New York Times

Tobacco Blues was featured on the award winning POV series, featuring the best, boldest and most innovative programs on PBS.

TOBACCO BLUES

Can a good person grow tobacco? As the cigarette war rages, small American tobacco farmers have been the often overlooked casualties. Dynamic filmmaking duo Eren McGinnis and Christine Fugate travel across Kentucky to meet the families who have been growing this crop for generations, as they face the consequences of this fuming controversy in their own backyards.

TOBACCO BLUES DVDS now for sale!

Order directly from the filmmakers!  All proceeds go directly into our new documentary projects.

All prices include postage and handling:

PRICES

Individuals:   $28

Public library, high school, non-profit:   $40

University:  $200

TO ORDER VISIT:

http://www.dosvatos.com/Contact/

We will contact you immediately with DVD ordering instructions.

Thank you!  Eren and Christine. 

The Café Sisters are back!

THE SOUTHERN SEX DVDS

now for sale!

Order directly from the filmmakers! 

All proceeds go directly into our new documentary projects.

THE SOUTHERN SEX, a campy critique of stereotypical notions of womanhood, screened at The Museum of Modern Art in New York City and The American Film Institute in Los Angeles, and has won prizes from the New School in New York, the Atlanta Film Festival, and many others.

All prices include postage and handling:

PRICES

Individuals:   $28

Public library, high school, non-profit: $40

University:  $100

TO ORDER VISIT:

http://www.dosvatos.com/Contact/

We will contact you immediately with DVD ordering instructions.

Thank you! 

Eren McGinnis and Christine Fugate. 

The Café Sisters are back!

by Andrew Sargent

Assistant Professor of English

West Chester University of Pennsylvania

African-American literature begins with the spirituals.  One of America’s oldest indigenous musical forms, these haunting religious “sorrow songs” are arguably the centerpiece of the black oral tradition.  First created and sung by slaves, they now lead off the discipline-defining Norton Anthology of African-American Literature.  And because they’ve influenced the work of such modern black writers as W. E. B. Du Bois, James Weldon Johnson, Langston Hughes, and Zora Neale Hurston, they make a perfect starting point for studying black literature as a whole.

  Yet there’s a challenge in introducing the spirituals into an African-American literature classroom: even as students can be emotionally moved by recordings of, say, “Steal Away to Jesus” or “Wade in the Water,” they sometimes struggle to get their heads around the complex history behind the music.  Because the spirituals are an oral, communal form of folk culture shared covertly by an oppressed group of people, they defy conventional ideas of literary creativity and authorship; they also carry hidden meanings that may not be evident to the first-time listener.  And so questions such as “Where did these songs come from?”  “To whom do they belong?” and “What purpose did they serve for the folks who sang them?” take on a heightened urgency.

  Thanks to an inspiring new PBS documentary, The Spirituals (2007), teachers of African-American literature now have a dynamic tool for getting students to dig into these questions.  The work of socially-conscious independent filmmakers Ari Palos and Eren McGinnis, The Spirituals does a beautiful job of showcasing the emotional pull of the songs, but it’s equally adept at illuminating the historical context in which they emerged and evolved.  And with a 26-minute running time that lends itself to screening and discussion in a single class period, The Spirituals is a truly invaluable teaching resource.

  Much of the documentary’s inspirational quality comes from the starring role it gives to the American Spiritual Ensemble, a Kentucky-based, internationally-acclaimed singing group whose performances of “Swing Low, Sweet Chariot,” “Joshua Fit the Battle of Jericho,” and others lend the film its soaring soundtrack.  But the filmmakers use several other techniques to root the spirituals in a tangible physical and historical reality.  In addition to archival footage, still images, and impressionistic re-creations of slave life—all gorgeously photographed—the film’s most valuable resource is the informed commentary by musicologists, composers, and the Ensemble members themselves.  These interviewees deliver keen insights into the function of the songs and offer personal testimonials on what the spirituals have meant to the people who’ve sung them.

Students learn, for example, how the spirituals grew out of African rhythms, Christian hymns, and biblical narratives of bondage and freedom; how slaves sang these songs among themselves to cope with the miseries of slavery and assert their faith in God; and how songs such as “Swing Low, Sweet Chariot” and “Steal Away to Jesus” often conveyed covert signals about slaves’ plans for escape.  “One of the reasons it’s such a challenge to really know these songs,” explains one Ensemble member, “is [that] the very nature of them was secret.  One could lose his or her life for communicating the coded messages that these songs had.”

The film also chronicles the spirituals’ importance to African-Americans after emancipation, focusing in particular on the fundraising work of black student troupes like the Fisk Jubilee Singers in the late nineteenth century, and, later, the high-profile role spirituals played in the Civil Rights movement of the 1950s and 60s.  Running throughout the film is a sense that despite their historic significance, the spirituals are a cultural form in danger of being lost or forgotten.  Hence the documentary tracks the American Spiritual Ensemble’s laudable efforts to preserve and promote the rich heritage of these songs and to build on “old” material with innovative new arrangements.

            In the film’s final moments, we see this quest take the Ensemble all the way to Mallorca, Spain, where they deliver a show-stopping rendition of “Steal Away to Jesus” to a rapt audience.  As the music soars, the filmmakers overlay images of archetypal Deep South locations—cotton fields, slave quarters, rivers—that breathe out the history of black enslavement and resistance.  It’s the most moving moment in a film that’s full of them.  And it reminds us why the music that Du Bois once praised as “the articulate message of the slave to the world” continues to speak powerfully to audiences across the globe.

TO ORDER DVDs of THE SPIRITUALS please visit:

www.dosvatos.com 

“Imagine giving up everything…,” begins the trailer for Beyond the Border.   Everyday my students come into contact with immigrants who have “given up everything”.  But their stories remain invisible, hidden behind labels and preconceptions about the reasons why Latinos come to this country. 

Beyond the Border gives my students a glimpse into the lives behind the labels and statistics.  The film presents a rich tapestry of complex daily issues, economic motivations, and competing tensions all centering around the pain of migration and the need to adapt to a new culture while preserving one’s heritage, a tapestry that takes us beyond the talking points of our current debate on immigration. 

Beyond the Border gives my students the tools to examine immigration in the US with a critical and humane eye.  Once they’ve seen Beyond the Border, they know that the immigration debate can’t be reduced to anecdote, sound bites, or black-and-white, law-and-order analysis.   

Beyond the Border is the most effective vehicle I have found for providing students with a sense of the human dimension of the immigrant’s saga today, the key dimension to them someday making an informed decision about the fate of people like the Ayala brothers.

Dr. Richard Pyrczak

Instructor, Spanish and French

Moravian Academy

Bethlehem, PA

TO ORDER DVDs of BEYOND THE BORDER please visit:

www.dosvatos.com

PRODUCTION JOURNAL from our year of living in Juchitan, Oaxaca.

Check out two of the shorts that we created while living in Juchitan here:

www.youtube.com/elvatouno

SON JAROCHO in Juchitan, Oaxaca

I went out on the town last week with three beautiful Tecas.  If you hail from Juchitán you are called either a ‘Juchiteco ‘(for the guys) or a ‘Juchiteca’ (the female persuasion) or better yet, I like the short version of ‘Teco’ or ‘Teca’. 

Mariana lives right down the street with her mom and a big Rottweiler named Gorda.  She has a beautiful way of dressing and I can tell she thinks a lot about the whole package, because she always looks so pretty and nicely put together.  She usually wears a combination of the old fashioned traditional clothing of the region with a piece of modern day stuff.  Her traditional gear included wearing a huipil, which is a hand made blouse, and hers was made out of rustic looking white cloth and embroidered with fine red thread in an elaborate design.  Her skirt was a red floral diaphanous thing and she always wears really smart jewelry, usually made out of chunky pieces of polished amber. 

Mariana’s mom is in the gold and ‘stone’ business, and apparently is a very good saleswoman.  We discussed our passion for the color red, in fingernail polish, clothes, and household accessories.

Her younger sister, Pati, came along, decked out in thoroughly traditional garb, wearing a bright yellow ‘juchi’ girl skirt (very flattering to the figure) and the famous huipil from the region, which is made out of black velvet and covered with an explosion of embroidered flowers.  Her hair was pulled back in a tight bun and she looked really beautiful. 

We drove to town in Ari’s big truck, which is not so big, but the dainty and tiny women of Juchitán always have a hard time getting up into it.  At 5’6’ I am a giantess and tower over most of the local women, whereas, in the U.S. I feel kind of short.

We picked up another friend who was wearing a green velvet huipil stitched with off white thread and also a long and flowing skirt.  I was wearing a long pink cotton skirt, a super shiny green and gold blouse (all gifts from my mom), and simple gold jewelry.  I wish I had taken a photo because we looked like a bouquet of flowers together. 

We were going to town to celebrate Mexican Independence Day and do El Grito in the Palacio but first we went to a little club called El Puente to hear some music.  There was not any one there, other than the super cool looking musicians, and the Tecas said the emptiness could be explained by the rain.  

It took the Tecas forever to order drinks and they were very bossy and nice with the waiters, “What!  You can’t go back there, chop up some fruit, and make me a fresh drink?!!”  I quickly ordered a Victoria and they all settled on fresh lemonade.

After the rain died down we went into the courtyard full of almond trees to listen to some folkloric music from Vera Cruz, otherwise known as the “Son Jarocho”.   When listening to the “Son Jarocho” you can feel the influence of the Spanish conquistador, the African slave who was brought to the coast, the slaves of the Caribbean, and also the people who were already there, or the local indigenous folks.  This sound dates back to the eighteenth century. 

The musicians were dressed liked elegant campesinos, with straw hats, guayaberas, hand made trousers, and huaraches. They sang beautiful melodies together and one of them was singing in a high falsetto voice. One musician strummed, with a lot of gusto, the five stringed Jarana like a ukulele.  Another played a Requinto, which is another rustic looking guitar, and is used for playing arpeggios, or chords played in rapid succession rather than simultaneously.  Another was picking a violin (I think). The coolest musico was playing a Quijada de Burro or a donkey jaw.  Percussion instruments, like the donkey jaw, the turtle shell, or a box, became important to musicians in the old days, because drums were outlawed for slaves during Mexico’s Spanish colonization.  This music is earthy, rustic, and I like it a lot.  One famous song that originated from this ‘jarocho’ tradition is “La Bamba”, although the music played that night did not really sound anything like “La Bamba”.

The added bonus of all this fine music is that groups from Vera Cruz tend to perform with two dancers, who are part of the group.  The young dancers used a hand strewn elevated wooden platform, called a tarima, and did percussive dancing on top of the platform.  They wore lovely cotton blouses, long full skirts, and dance shoes that could really add sound to the ‘zapateos’, or foot tapping of the dances.  They were very good dancers who got all sweaty due to the physicality of their performance.  The dance had a flamenco type quality but was quite different.   

It was fun and really much better than any song and dance that I get to see in the U.S.    We missed “El Grito” entirely and this had something to do with the time thing in Juchitán, which means that some people follow the rules of clock changing for daylight savings time, and others do not.  Therefore, in Juchitán there is a ‘tiempo normal’/normal time and ‘tiempo del verano’/summer time, which are an hour apart, and adds the confusion of what time it really is.

By Eren Isabel McGinnis

from Nougat Magazine (Lexington, KY) 

 A creative vortex of wood workers, artists, writers, activists, pundits, and professors swirls around the Bell Court neighborhood.  Peeking out my window I would see Dr. Everett McCorvey, Impresario and Opera Star, dashing off in a tuxedo to perform, or to give voice lessons and sing in Prague, or Vienna.

Throughout the years I discovered Everett and I have a lot in common; we are both Virgos with a love for nice clothes and can remain calm in dreadfully high drama fields. Everett is also a fantastic producer, thinks full-size, and not much stands in his way.  On a porch swing, we would scheme together and strategize about pooling our talents. 

My partner, Ari Luis Palos, and I began a collaboration of our filmmaking and Everett’s music and performance, with a documentary called “Impresario” about Everett’s life work of bringing talent to the stage.  We learned of Everett’s leadership of The American Spiritual Ensemble, a group dedicated to keeping the Negro Spiritual alive through performance.  The spiritual is an indigenous American art form, created in the fields and plantation houses of the American south.  Slaves were able to secretly communicate with each other while singing, giving them the power to console, heal, and resist. “Swing Low Sweet Chariot” and “We Shall Overcome” are just two classic melodies that continue to inspire.  Our goal was to create a documentary recounting the bitter history from which the spiritual art form arose, and explore what the music means today with The American Spiritual Ensemble. 

Brazil was our first international gig with the ASE and the performers would sensibly go to bed at regular hours, drink herbal tea, and rest their voices.  After hours, Ari and I would go out with Joey Prather, the piano player and Pablo, the Brazilian impresario, to drink passion fruit Caipirinhas while enjoying the samba and jazz clubs.  In Rio we all hiked to the top of Corcovado, where Jesus the Redeemer inspired the down Diva, Angela Brown, to perform an impromptu spiritual for the crowd.   

Raising money for independent film projects is a perpetual struggle.  We went to Spain to document the 10th Anniversary tour of the American Spiritual Ensemble and to witness the effect of the spiritual on international audiences.  We had a grand total of $127 in our bank account when I received a cryptic email from a potential funder, ITVS, an organization who fund projects for PBS.  Ari and I did an impromptu dance in the plaza of a dusty olive tree growing Spanish town to an audience of old men and a gas station attendant.  We later found out, the panel without a vision, had turned us down for funding, which is not really surprising, since the panel only funds about 2% of incoming projects.  We were lucky with this one, because even though the panel had turned us down, a few brave staff members at ITVS felt this was a documentary worth funding!   We then formed a partnership with PBS and KET, a local group with a long history of supporting our work.

Ari and I wanted to branch out stylistically with our new movie and create fictional vignettes to make the viewer understand and feel the history of the spiritual. Our first detailed shoot in Spain was to take place near the water, close to volcanic rocks, on the island of Palma de Menorca.  The inspiration was to have our actors use the energy of the ocean to remind them of their African homeland. Our actors were jetlagged but ready to go; we had all journeyed far to this enchanting spot, only to discover our batteries had been drained by Spanish eletronics, rather than being charged. A film crew is basically dead without battery power.  We decided not to panic or let our actors know there was trouble all around with no solution close by. Ari is a technical genius and quickly determined he could connect his camera to Everett’s rental car as both run on 12 volts.   He cut the cables with the corkscrew in our sound bag and hooked the camera up to the car battery.  I feared our very expensive camera would blow up when Everett started the car.  We did have power again and got the opening shot of the movie.

The next day in Barcelona we walked all over town but could not land any professional camera batteries and were forced to use a couple of heavy moped batteries duct taped in an improvised fanny pack.  Needless to say, we left the ominous contraption behind as we have enough trouble boarding a plane with our ‘mysterious’ equipment.

The full force of the creative collaboration came to be during our big shoot at the Roman coliseum in Tarragona, Spain.   We had made this an optional shoot as the performers were really burning it up during the tour of Spain.   The concerts would start at 10:00pm and we would return to our hotel rooms late feeling the spirit of the music. Our Spanish Impresario, Juan Diablo, would have us up frightfully early to catch a plane, bus, or the infamous Mediterranean boat ride where most of the passengers hurled during a freak storm. There was of course the ubiquitous drama associated with having access to the coliseum and it was raining. The cultural context is different in Spain. Ari and I work all over the world and are more accustomed to the Mexican mantra that “everything is possible’, whereas in Spain the credo was, “NO! It is impossible”.  But just for today, the weather cleared, and each and every performer got off that tour bus, the opera divas in their fabulous glittery gowns, and the men in their tuxes.  I almost cried watching the women negotiate the crumbling 2,000 year old coliseum steps in their high heels and sing Joshua Fit the Battle of Jericho and the walls come a tumbling down.   The motivation for the performers was to be strong like their ancestors and they looked magnificent!  This was a tribute to the goals of the project, to actively participate in the creation of a documentary, and to celebrate and acknowledge the contributions of African Americans to the canon of America music.

This filming of the documentary inspired a series of creative collaborations and helpful hands all over Spain and the American South.  People believed in the spirit and historical importance of this project and wanted to be a part of and contribute to making this film better.  One of the few roadblocks that we encountered was with the Woodsongs folks.  One of Michael Jonathon’s hysterical henchmen wanted to throw me out of The Kentucky Theatre lobby for trying to secure an interview with Odetta, a legendary perfomer, who sang spirituals during the historic March on Washington for Jobs and Freedom back in 1963.  This was a rare example of ego and unnecessary attitude getting in the way of creative expression and all the more shocking being that we had already and would continue to receive so much support along the way. 

We were rolling into Montgomery, Alabama, Everett’s hometown, and our actor called to cancel, she had thrown out her back.  We had to scramble and found two young actors from Alabama State and secured period costumes.  Ari and our still photographer were setting up the shots at the kudzu infested crumbling southern mansion.  The rain was coming down so hard on my drive to the location that I could barely see that this was part of the Selma to Montgomery National Historic Trail.  As I pulled into our location the rain lifted and in its place was this soil hugging fog, the type that Hollywood studios spend big bucks to recreate. Shooting around the slave quarters threw us all back in time.  My friend Claudia Michler, of Michler’s fame, told us that one way to find the slave quarters was to look for the daffodils, which the slaves frequently planted to beautify their surroundings.  

To reach the in use roots of the Negro spiritual we journeyed to Gastonia, North Carolina to record music with regional hymn choirs.  We were welcomed to a multi-congregational hymn choir sing fest. One choir would start up with the leader doing the call and the others falling in with the response.  It was three hours of an improvisational wave of singing and foot stomping.   

The world premiere of The Spirituals documentary will take place in Lexington.  We will be joined by the entire ensemble who will be watching the film for the first time.  A question and answer session with Dr. Everett McCorvey, Ann Grundy, and our Editors, Lisa Molomot and Jacob Bricca, who are flying in from New Haven, Connecticut, will follow the screening.   The Spirituals will air on PBS and film festivals throughout the country and Spain.

TO ORDER DVDs of THE SPIRITUALS please visit:

www.dosvatos.com 

 On rare occasion, a documentary not only delivers rich and fascinating personal drama, but real educational content and purpose without preaching or propagandizing. 

Más allá de la frontera (“Beyond the Border”) achieves all this and more.   Beyond the Border tells the captivating story of the Ayala brothers, four men from a small town in Michoacán, Mexico who immigrate to the US.  Their story is told in a simple, direct style.  The film interweaves interviews with the four brothers, allowing each to tell his story and the story of his brothers in his own words and at times highly visible emotions. 

After following Marcelo, the youngest of the men, to the US border and beyond, to a thoroughbred horse ranch in Kentucky, the film works through the very different experiences of Marcelo’s brothers, who have been in the US for varying lengths of time.  We bear witness to the struggles of Gonzalo, the oldest of the Ayala brothers, with alcoholism; Juan Ayala’s pride at having made a good life for himself with his American wife, while lamenting that his children don’t speak Spanish and have lost an essential part of their heritage; Horacio’s nostalgia for his homeland but recognition of the necessity to continue working in the US; and Marcelo’s harrowing trip over the Mexican border and back just to visit his family at Christmas. 

Beyond the Border brings alive the human side of “illegal” immigration, perhaps the most hotly debated issue on the American political scene today. 

Dr. Richard Pyrczak

Instructor, Spanish and French

Moravian Academy

Bethlehem, PA

TO ORDER DVDs of BEYOND THE BORDER please visit:

www.dosvatos.com

We lived and worked in Juchitan, Oaxaca, for a year with the support of a Fulbright.  Juchitan is a very interesting and magical place.  Check out some of our shorts:

http://www.youtube.com/elvatouno

This journal accompanies the short

Taladxi en la Séptima

  We finally whipped out the big camera (a Sony DSR-130 Camcorder), the tripod, and our sound gear and started shooting again. It’s not like we are rusty or anything . . . we did the final ‘martini shot’, for our Kentucky Theatre documentary on the 20th of July.  A martini shot, is the last shot of the day on a film set, and the final one is always bittersweet for documentarians.  It is a wonderful moment when you know you have enough footage to tell your story and the shooting is finally wrapped.  However, we had just spent months with Fred and Raymond, who are the stars of “The Kentucky Theatre” and were privy to their day-to-day routines and obsessions.  When you take the time to shoot a person, in such an intimate and intense way, you really get to know them and enjoy being a part of their life.  The martini shot brought an end to the live connection with Fred and Raymond.    

We jumped right back into the field by shooting an event called, “Pelota de Esponja” or in Zapoteco, which is the indigenous and most commonly used language of the region, “Taladxi”.  We were accompanied by our neighbor, Herman, who has appointed himself as our Production Assistant and my son Max, who guarded the tripod, when not in use, and ate corn on the cob with chile and lime juice. 

Sponge Ball is just like baseball, but the players use their fists to hit the ball, which is as hard as a racquetball.  The Sponge Ball field is often near a graveyard so ‘the dead can watch’. It was the final between the “Septima” (the seventh district which is the most populated and notorious for crime and wild life) and a team from “Cheguigu” (famous for strolling musicians). 

The crowd consisted of almost a thousand men who had arrived by foot, horseback, bicycle, and tricycle.  The appointed Presidente of Juchitán made a brief appearance and left in a shiny truck with a couple of rough women. The leftist press has recently reported that the Presidente is alleged to have had a political rival assassinated.  The rival had been drinking at a popular cantina called, “Lola’s” and had his head bashed in with a brick while staggering home.  The locals claim the murder was about ‘amor’ and not about politics. We were introduced to the Presidente who spoke to us in English, having gone to school at The John Hopkins University in Baltimore.   

I could feel this was a dangerous place to be shooting and I trust my intuition a lot.  It is not easy to work in front of a thousand drunk and rowdy men (thank god I was properly clothed), but sometimes you have to dive in and hope for the best.  As well as being a producer, I am also a sound recordist, and I get to wield a big boom pole.  Having studied karate for many years I know how to use a stick as a weapon and I always feel more confident when carrying the boom pole.

One forthcoming man, who was wearing a Che Guevara tee shirt told me I needed to be careful because, “there are a lot of dangerous people here . . . they can find out where you live, slice you up with a knife, and steal your expensive equipment”.  He then told me to “take it e-see” in English. 

It was hotter than you can imagine and some players were barefoot.  A piglet briefly interrupted the game by scampering on field.  Ari and I try to make sure we have the game covered with visuals and sound.  Ideally, the audio should tell a good radio story. However, a live baseball game is not easy to shoot with one camera and one sound set up.  You are constrained spatially by the playing field as well as the fans.

The heat and a six-hour drive to Oaxaca City, to renew Ari’s visa, pull us away. It feels good to be back out in the field.