Assumiràs la veu d'un poble i serà la veu del teu poble i seràs, per a sempre, poble, i patiràs i esperaràs, i aniràs sempre entre la pols, et seguirà una polseguera.
I tindràs fam i tindràs set, no podràs escriure els poemes i callaràs tota la nit mentre dormen les teues gents, i tu sols estaràs despert, i tu estaràs despert per tots.
No t'han parit per a dormir: et pariren per a vetlar en la llarga nit del teu poble. Tu seràs la paraula viva, la paraula viva i amarga.
Ja no existiran les paraules sinó l'home assumint la pena del seu poble, i és un silenci. Deixaràs de comptar les síl·labes, de fer-te el nus de la corbata: seràs un poble, caminant entre una amarga polseguera.
Assumiràs la veu d'un poble i serà la veu del teu poble i seràs, per a sempre, poble, i patiràs i esperaràs, i aniràs sempre entre la pols, et seguirà una polseguera.
Assumiràs la veu d'un poble i serà la veu del teu poble, i seràs, per a sempre, poble, i patiràs, i esperaràs, i aniràs sempre entre la pols, et seguirà una polseguera.
I tindràs fam i tindràs set, no podràs escriure els poemes i callaràs tota la nit mentre dormen les teues gents, i tu sols estaràs despert, i tu estaràs despert per tots.
No t'han parit per a dormir: et pariren per a vetlar en la llarga nit del teu poble.
Tu seràs la paraula viva, la paraula viva i amarga.
Ja no existiran les paraules, sinó l'home assumint la pena del seu poble, i és un silenci.
Deixaràs de comptar les síl∙labes, de fer‐te el nus de la corbata: seràs un poble, caminant entre una amarga polseguera, vida amunt i nacions amunt, una enaltida condició.
No tot serà, però, silenci.
Car diràs la paraula justa, la diràs en el moment just.
No diràs la teua paraula amb voluntat d'antologia, car la diràs honestament, iradament, sense pensar en ninguna posteritat, com no siga la del teu poble.
Potser et maten o potser se'n riguen, potser et delaten; tot això són banalitats.
Allò que val és la consciència de no ser res si no s'és poble.
I tu, greument, has escollit.
Després del teu silenci estricte, camines decididament.
Assumiràs la veu d'un poble i serà la veu del teu poble, i seràs, per a sempre, poble, i patiràs, i esperaràs, i aniràs sempre entre la pols, et seguirà una polseguera.
ASSUMIRÀS la veu d’un poble, i serà la veu del teu poble, i seràs, per a sempre, poble, i patiràs, i esperaràs, i aniràs sempre entre la pols, et seguirà una polseguera.
I tindràs fam i tindràs set, no podràs escriure els poemes i callaràs tota la nit mentre dormen les teues gents, i tu sols estaràs despert, i tu estaràs despert per tots.
No t’han parit per a dormir: et pariren per a vetlar en la llarga nit del teu poble.
Tu seràs la paraula viva, la paraula viva i amarga.
Ja no existiran les paraules, sinó l’home assumint la pena del seu poble, i és un silenci.
Deixaràs de comptar les síl·labes, de fer-te el nus de la corbata: seràs un poble, caminant entre una amarga polseguera.
Vida amunt i nacions amunt, una enaltida condició.
No tot serà, però, silenci.
Car diràs la paraula justa, la diràs en el moment just.
No diràs la teua paraula amb voluntat d’antologia, car la diràs honestament, iradament, sense pensar en cap altra posteritat, com no siga la del teu poble.
Potser et maten o potser se’n riguen o et delaten; tot això són banalitats.
Allò que val és la consciència de no ser res si no s’és poble.
I tu, greument, has escollit.
Després del teu silenci estricte, camines decididament.
YOU WILL ASSUME the voice of a people and it will be the voice of your people, and you will be, forever, people, and you will suffer, and you will wait, and you will go through the dust, and a dust cloud will follow you.
And you will be hungry, and you will be thirsty, you will not be able to write poems and you will be quiet for the whole night whereas your people sleep, and you will be the only awake, and you will be awake for everyone.
You were not given birth for sleeping: you were born for staying awake for the long night of your people.
You will be the alive word, the alive and bitter word.
Words will not exist anymore, but the man assuming the sorrow of his people, and it is a silence.
You will stop counting syllables, you will stop making the knob of the tie: you will be a people, walking through a bitter dust cloud.
Life upwards and nations upwards, an ennobled condition.
Not everything will be a silence, though.
Since you will say the proper word, you will say it at the proper moment.
You will not say your word with any will of anthology, since you will say it honestly, irately, with no thinking about any posterity, except for the one of your people.
Maybe they will kill you or they will mock you, maybe they will betray you; these are only banalities.
What is worth is the conscience of being nothing unless you are people.
Assumiràs la
veu d'un poble
I serà la veu del teu poble
I seràs, per a sempre, poble
I patiràs i esperaràs
I aniràs sempre entre la pols
Et seguirà una polseguera
I tindràs fam i
tindràs sed
No podràs escriure els poemes
I callaràs tota la nit
Mentre dormen les tues gents
I tu sols estaràs despert
I tu estaràs despert per tots
No t'han parit
per a dormir
Et pariren per a vetlar
En la llarga nit del teu poble
Tu seràs la
paraula viva
La paraula viva i amarga
Ja no existiran les paraules
Sinó l'home assumint la pena
Del seu poble, i és un silenci
Deixaràs de
comptar les sil·labes
De fer-te el nus de la corbata
Seràs un poble, caminant
Entre una amarga polseguera
Vida amunt i nacions amunt
Una enaltida condició
No tot serà,
però, silenci Car diràs la paraula justa
La diràs en el moment just
No diràs la teua paraula
Amb voluntat d'antologia
Car la diràs
honestament
Iradament, sense pensar
En ninguna posteritat
Com no sia la del teu poble
Potser et maten
o potser
Se'n riguen, potser et delaten
Tot això són banalitats Allò que val és la consciència
De no ser res sinó s'és poble
Vicent Andrés Estellés
The vote is the most powerful nonviolent tool we have.
Today, Claire Fontaine and TheGrandma have gone to PalauRobert inBarcelona to visit an unforgettable and wonderful exposition Mariadel Mar Bonet als ulls deToni Catany / Maria del Mar Bonet in the eyes of Toni Catany.
This expo talks about the friendship between Mariadel Mar Bonet, the greatest singer in Catalan language and Toni Catany theprestigious and well-known photographer. Both of them were born in Mallorca Island and they travelled to Barcelona to follow their studies and start their professional paths. Lives of Bonet and Catany are connected as friends but also as professionals and this exposition is a good look over their lives, their connections and the great influence of these artists between them and over the Catalan and the world cultures.
The Grandma and Claire Fontaine love Bonet's music and as a good photographer and designer, Claire also admires Catany's works deeply. This exposition has been a good chance to discover more things about these magnificent artists and friends. It is a must that you have to visit.
Before going to the exposition, The Grandma has studied a new lesson of her Ms. Excel course.
Palau Robert is a building on Barcelona's Passeig de Gràcia 107, the former private residence of Robert Robert i Surís, an influential aristocrat, politician and businessman at the turn of the 20th century. It's now a government-run institution that hosts an exhibition centre with three halls, a concert hall, and gardens as well as the Information Centre for Catalonia, including the city's tourism bureau.
In the 1936-1939 period, it was the site of the Generalitat de Catalunya's Ministry of Culture. After the Spanish Civil War, Robert's family regained the Palau, until its second purchase by the Generalitat de Catalunya, the Catalan government, in 1981, when it became a public building.
An example of late neoclassical style, made of stone from Montgrí, the Palau Robert was finished in 1903 under the direction of architects Henry Grandpierre and Joan Martorell i Montells. The garden was designed by Ramon Oliva, who also designed Plaça Catalunya. Its palm trees were brought during the 1888 Barcelona Universal Exposition.
Toni Catany (Llucmajor, August 15, 1942-Barcelona, October 14, 2013) was a Mallorcan photographer with self-taught training.
Toni Catany resided in Barcelona since 1960, a city where he studied chemistry. Self-taught photographer, he began his profession as a free-lance (self-employed) in 1966, conducting travel reports.
In 1968, he published his first reports on Israel-Palestine and Egypt in the magazine Destino and on the Balearic Islands in La Vanguardia.
But he would soon opt for lands other than those of press photography.
Toni Catany & Maria del Mar Bonet
In 1972, the Aixelà Gallery in Barcelona hosted its first exhibition. In
1980, he began a series of dead natures that sought recognition worldwide.
Dead natures of study, landscapes and Mediterranean architecture, with a special interest in crossbreeding, portraits and male knots treated with singular poetry are some of the great issues that Catany addressed in his work. A work that, technically, began with the imitation of ancient techniques, such as daguerreotype and calotype, and more recently in transported polaroids. Always with the combination of procedures of the past, tradition and experimentation, with great influence on painting, and with alternation of black and white and color, although it also incorporated as a means of expression digital photography in its latest years. He is the author of a monograph about Mallorcan photographer Tomàs Monserrat (1873-1944).
He exhibited in Spain, France, the Netherlands, United Kingdom, Italy, United States, Tunisia, Germany and Japan, among other countries. His work is located at the National Library of Paris, at the Museum of Modern Art in Paris, at the Niepce Museum (Chalons-sur-Saone, France), at the University of Parma (Italy), at the International Polaroid Collection (USA ), and at the Museum of Mallorca.
He was also a great traveler, very interested in Mexico and Venezuela, as well as Iran, India and Bangladesh, where he shared many places with the writer and traveler Ana María Briongos.
The Fundació Toni Catany is a private cultural foundation, created on July 10, 2014 in Llucmajor, Mallorca, which has the following aims:
-Catalogate, preserve, study, defend, reward and disseminate the artistic and photographic legacy of Toni Catany.
-Colaborate with the public institutions in the creation and management of an international photography center, based in Llucmajor, with the aim of becoming an active organization with a local and global projection for the promotion of photographic culture and for the knowledge and dissemination of the work of Toni Catany.
-Customize the general public the work of Toni Catany, for which the Foundation manages the copyright generated by the work of Toni Catany, and makes available copies of this work that is susceptible of marketing.
-Colaborate with public institutions and private entities to promote the photographic culture and to promote the Balearic Islands as a meeting place for any artistic or cultural expression.
The Palau Robert adds to the 50th anniversary of Maria del Mar Bonet's musical career with an exhibition that brings together the best photos that Toni Catany, the National Plastic Arts Award and the National Photography Prize made to him, and gives him know the friendship and the creative evolution of the two artists.
An exhibition dedicated to two friends, to the fecund creative exchange of two cultural references of the Catalan identity
that grew together as artists and that reflects the decisive role of
the Mallorcan photographer in the shaping of the public image of Maria del Mar Bonet.
The Grandma visits the exposition, Palau Robert
The exhibition Maria del Mar Bonet in the eyes of Toni Catany,curated by Antoni Garau and Pep Dengra, is being organized by the Direcció General de Difusió de la Generalitat de Catalunya and the Fundació Toni Catany,whichproduced it with the support of the Ajuntament de Llucmajor.
From the photographs of Toni Catany, the exhibition explains the struggle of two committed people, of extraordinary creativity, both advocates of identity, languageand the Mediterranean and shows a common trajectory, which began when the singer started his musical career at the Setze Jutges in Barcelona. Together they dive in the cultural Barcelona of the 70, in different fields but always maintaining close collaboration. Literature, especially poetry, music and art, united the two friends, who exchanged suggestions, preferences and readings.
The discography of Maria del Mart Bonet is the conductor of the show that presents 180 works (discs, posters, photographs). Catany was the author of more than 60% of the covers of his albums, posters and photographs. The exhibition is structured in the following areas: A look in love, In the eyes of the friend, Salmaia, Portraits and overseas, 2017.
Miquel Bezares, President of the Fundació Toni Catany says about this exposition:
In the 1960s Toni Catany arrived in Barcelona and settled down there to start an extraordinary photographic work. He soon became a privileged witness of many cultural events and historical events. Between these events, there was also the start of an artistic career, which was also exceptional, the career of Maria del Mar Bonet, with whom our photographer started a close friendship, which, like many friendships, had to go through all the colours of affection, from the first and uncertain love to the intensely fraternal bond.
Since the start of this unconditional bond, there is a Maria del Mar Bonet that was created by the eyes of Toni Catany. It exists because he looked at her and taught her how to look at herself. To see herself through the eyes of a friend. Because if we usually say 'the camera loves you' to point out that someone is photogenic, in the case of Bonet we have the certainty that it was not just the device that the photographer was holding in his hands what loved her, but, and above all -above her strict beauty and the mechanical fidelity of the lens- that it was the friend himself, who put all his love into it. His loving look.
In 2017 it has been 50 years since the beginning of Maria del Mar's career, and so, the Fundació Toni Catany wanted to join the commemoration by organizing this exhibition dedicated to the two friends and their creative exchanges. We owed it to Catany and we owed it to Bonet.
Barcelona. Last years of the 60's. They are young. Very young. They are just finding out what they want to be. And the first look of Catany, no doubt fascinated by the beauty of Bonet, was a clear and loving look.
Maria del Mar Bonet
The
unconditional approach that started in those first meetings,
conditioned by the intense light that only a hectic heart can have, had
to become the best basis for the construction of a friendship that was
long lasting and, from an artistic point of view, very fruitful.
Maria del Mar Bonet said about Toni Catany:
One day he came to my house, in Palma, and took a picture of me. I had my hair on a braid and had a kitten. We started talking and I told him that I wanted to go study pottery in Barcelona, and he was already there because he was studying a specialisation course. He did that to make his family happy, he did not like it at all, while he slowly started taking photographs, shaping his vocation. He suggested that I contacted him when I arrived in Barcelona, and I did it. When I first started singing, I took him towards the world of the song.
Als ulls de l'amic / In the eyes of a friend
It would be fair to say that the professional and artistic image of Maria del Mar Bonet was created by Toni Catany. Bonet answers to the eyes of her friend with a look that is as loving as his and that becomes, over time, the singular process means to learn to see herself, to discover and recognise herself physically, guided by the advice and suggestions of Catany, or oriented by his aesthetic opinions.
Catany also takes part in the graphic design of the albums and promotional posters of Bonet. Whether the album has a portrait made by the photographer or another design, the look and the opinion of the friend operate in the construction of the image. Or it is the product of the always fertile joint work and artistic exchange between both of them.
Si véns prest, 1969
Barcelona is the setting of the beginning of a long-lasting and artistically fruitful friendship. The young Catany and Bonet share their days in the city and also on the island. She poses for the camera for him, and some of the photographs are included in the private and personal archive of the photographer, witness of a time of discoveries, smiles and complicity. Some of these photographs are kept hidden from her, his friend, in the same way that one would hide a feeling or a treasure. Salmaia
The water of the fountain has become salmaia when it becomes salty. The adjective was nominalised by Maria del Mar Bonet
to give name to the album of the same title, published in 1995, which
she defined as a mixture of fresh water and salt water, or the mixture
of Italian, Greek and Turkish songs that were in the album. In the same way, salmaia
could be understood as the meeting point of the river and the sea that
were, for many years, the photographer and the singer. A space for
artistic exchange in which music, words, the scenes, the themes, and the
looks blend, suddenly come together, or result in subtle
correspondences. Some expressions of this fertile exchange are shown in
this exhibition as the central theme.
The singer came in contact with the poetry of Bartomeu Rosselló-Porcel through Salvador Espriu and Toni Catany and he sang some poems that have become essential issues in the Maria del Mar discography.
Maria del Mar Bonet & Mercè Verdaguer, her mother
We know that Maria del Mar Bonet discovered the poetry of Bartomeu Rosselló-Pòrcel at the house of the photographer. She had to make the music for some of his poems, which have become famous songs.
Salvador Espriu, who was companion of the late Mallorcan poet, received in his home the two friends on February 22, 1968. Bonet wentthere to sing some of her songs to him (Catany,who went with her, wrote in his diary that the poet especially appreciated Què volen aquesta gent?, El majoral and Sa núvia d'Aljandar). Literature, especially poetry, music and art connect from the beginning the two friends, who exchange discoveries, preferences and readings.
Salvador Espriu said about Bonet in 1974:
Maria del Mar Bonet has interpreted like no one else the poetic world of Bartomeu Rosselló-Pòrcel. Because she understands and loves it, she interprets it like no one else and gets to its core, to its penetrating ardour. [...] Toni Catany and the other collaborators, the names of which I do not know, have also executed their respective duties with a diligent success.
Unveil photos of the recital of Bonet, who shared the stage with Toti Soler and Ovidi Montllor, in the Olympia concert hall in Paris. The Valencian poet VicentAndrés Estellés attended the concert. The concert was recorded and published as an album in November of the same year.
From Paris to Llucmajor. At the Olympia. Maria del Mar had sung Mallorcan folk songs among other kinds of songs. In the expression of popular culture and art of the Catalan Countries there is another connection between the photographer and the singer, who share the idea of national building based on the local things, and who enjoy to go through and to recognise the accents and the colours of the Mediterraneanism.
From Llucmajor to the world. The poetry of Maria Antònia Salvà, the photographs of Tomàs Montserrat or a florera become, then, essential elements of the incessant and enriching exchange that the friends have from the common passion.
Cançons de la Mediterrània, 1982
The photographer and the singer opt for the culture and art of the Catalan Countries, for the idea of national construction from what is local and are recognized in the accents and colors of mediterranean origin.
Jardí tancat, 1981
For the pictures of this album, dedicated to poets and poems of the Mallorcan school such as MariaAntònia Salvà, Toni Catany photographed his friend in a highly symbolic place that both of them particularly appreciated: Raixa. It was there where he took one of the most emblematic and iconic photographs of our artist.
Bon viatge faci la cadernera
The world of stories is very present in Bonet i Catany since its infancy. These popular stories have been used for songs by Maria del Mar and for a photographic series like the one presented in the exhibition.
Claire Fontaine visits the exposition, Palau Robert
Salmaia, 1995
The Mediterranean, Raixa, the sanctuary of Gràcia, Cadaqués and Cap de Creus, another of the legendary scenarios for our artists. The places of meeting and return. The places of the salmaia.
Cavall de foc, 1999
We have seen that the artistic will is intense, both in Catany and Bonet, and sometimes it leads them to explore other ways of excange to try out various kinds of expression that are not strictly their own. The synergies can be, at times, surprising or certainly wonderful. Bonet shows his pictorial facet on the cover of this disc and sometimes approaches the language of the photographer friend, discovering new forms of expression beyond the song.
Portraits and overseas, 2017
Selection of twenty-two portraits of the singer of great beauty, unpublished and other best known, made with different techniques such as calotypes, transported polaroids and colored originals.
The exhibition tour ends at the Ultramar scope, 2017. This is Bonet's latest recording so far. Catany contributed to the search for Cuban music and tones. Unfortunately, he left us before the album came out.
There is, finally, the music, that connects the two friends. The exchange of musical discoveries and recommendations was constant. Listening to songs next to each other became, over the years, a daily and stimulating ritual. They had talked about the album Ultramar, the last one of Bonet up until now, but Catany did not get to hear it. The text of the song Amorosa Guajira, which the singer found by chance in the songbook of Pare Ginard and that ended up being a posthumous tribute to her friend from Llucmajor, became one of those magical coincidences that only the power of art and the force of an unconditional friendship can cause.
Maria del Mar Bonet says about Toni Catany:
The photographs were
taken at the house of the designer Francesc Guitart and Montserrat
Xicola, in Barcelona.That was the first time that Toni made me pose like
that, sitting. Francesc Guitart and he had the idea of the photographs,
one above the other. It was a cover that had a lot of impact. That
image was not common at all, it was something else, with that green
tone... he took some more pictures of me that ended up in his
exhibitions, including one in which I had my hair in a bun. For many
years I did not like the portraits that other photographers made me.
Only his.
The exhibition presents the audiovisual of Eva Vilamala Toni Catany in voice of Maria del Mar Bonet that gathers the influences between the two artists, the shared tastes and sensibilities that will give fruit in the work of both.
Today, The Grandma wants to talk about one of her favourite poets: VicentAndrés Estellés.
Vicent Andrés Estellés (4 September 1924-27 March 1993) was a Valencian poet and journalist.
He was born in Burjassot, València and is considered one of the main renovators of modern Catalan poetry,with a similar role to that of Ausiàs March or Joan Roís de Corella in earlier periods.
Vicent Andrés Estellés was twelve years old when the Spanish Civil War broke out. During its course, he trained to become both a baker and a goldsmith, and learned to write on a typewriter. The war had a profound impact on his work, in which death is a recurring theme.
Estellés spent his teenage years in Valencia, where he developed an interest in literature. During that period, he was most influenced by Charles Baudelaire, Pablo Neruda, Paul Éluard, Cesare Pavese, and Walt Whitman, Catalan poets such as Màrius Torres, Jacint Verdaguer, Josep Carner, Carles Riba, Santiago Rusiñol and Joan Salvat-Papasseit, as well as the Valencian poet Ausiàs March and the Balearic poet Bartomeu Rosselló-Pòrcel.
In 1942, at the age of 18, Estellés moved to Madrid to study for a degree in Journalism. Three years later, he left to do his military service in Navarre. At the age of 24, he moved back to Valencia and became a journalist for the newspaper Las Provincias. He befriended Joan Fuster, Xavier Casp and Manuel Sanchis i Guarner, all three of them well-known Valencian writers, and met Isabel, who would later influence his writings as well.
The Grandma meeting Estellés in Burjassot
In 1955 Estellés married Isabel. The couple had a daughter, who died when she was four months old. After the death, which Estellés recalled in Coral romput,death became a recurring theme in his works.
In 1958 he became editor-in-chief of Las Provincias, only to be dismissed for political reasons in 1978, thus being forced into early retirement at the age of 54. This allowed him to devote himself entirely to writing and engaging in a variety of cultural activities, such as art exhibitions. That same year, Estellés was awarded the Premi d'Honor de les Lletres Catalanes. In 1984 he was awarded the Premi d'Honor de les Lletres Valencianes.
Estellés spent a few years in Benimodo, a municipality in the comarca of Ribera Alta, in the Valencian Country. During this period, he combined poetry with prose in his works. He received several awards in the 1990s, including the PremisOctubre.
The works of Vicent Andrés Estellés, one of the most important Catalan-language poets of the 20th century, are diverse and extensive.
Vicent Andrés Estellés
Estellés also wrote novels, plays, screenplays, as well as his memoirs. It is difficult to categorize his entire work because some works were reworked from books or private notes such as Manuscrits de Burjassot, Cançoner or Mural del País Valencià, from which he only published extracts or the poems he considered most appropriate.
The three levels of oppression that are evident in his works are the reason why Estellés's aesthetics have been described as irate.
-Personal oppression: He describes a vital situation in which persecution and humiliation are constant. This situation unavoidably requires being assertive and acting consequently. It shows love as a possibility of salvation and redemption.
-Collective oppression: He describes a collective life characterized by economic misery, fear of being socially criticized, and a situation of ignorance devastating the people which he feels he belongs to.
-National oppression: He describes a sense of despair, a particular sensitivity caused by cultural, linguistic, and national abduction. He is sensitive to the Valencian people's fight to dignify their own culture.
Some of his most frequently recurring topics are death, love and eroticism, hunger and political oppression, as well as daily life. Put together, these themes provide a considerable formal and tonal variety.
You will assume the voice of a people and it will be the voice of your people, and you will be, forever, people, and you will suffer, and you will wait, and you will go through the dust, and a dust cloud will follow you.
