I will marry Flora!
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Tomorrow will be
the happiest day of my life. I will marry Flora!
I will finally
be able to love that athletic body which I’ve
looked at so many times, enthralled, since my
adolescence. No longer will my
heart cherish that horrible mixture of pleasure
and fear that I experienced
when seeing her leap from the high trapeze. No
longer will I feel
the anger when seeing her perform her acrobatic
jumps with Ramón, who, smiling, would embrace
her as both fell on the net.
It’s true that Flora’s
appearance has deteriorated. Her
hands are now calloused and her arms look
flaccid. But she will no
longer live that boisterous and depraved life of
clowns, dwarves and contortionists of the
circus. When Ramón died, (I,
myself, loosened the ends of the ropes that
would hold him up) Flora fell
into a deep depression and there was no dwarf,
monkey or clown who could make her laugh.
I was
always by her side, I must
say, although that was not within my duties. I was
in charge of getting rid of the stench of the
animals. Touring hours were long and exhausting,
in isolated villages of Minas Gerais and in the
towns surrounding the Paraná River, where it was
impossible to understand the vastness of Brazil.
I would
get up at dawn to bathe and clean up shit from
the elephants and Bengal tigers as well as feed
hungry tigers, monkeys, parrots and falcons. Of
course, nobody would pay attention to my
miserable and insignificant work, least of all Flora who
would be the last to notice me as she, in her
splendor was desired by everyone around her.
Ah!...she had been born to be an entertainer.
She could sing and dance and was like a juggler
who does not know the horrors of fear.
And it was because of that
fear that I went
to see Madame Alphonsine one day. She is a
juggler-conjuror and palmistry reader who worked
at one of the booths placed at the entrance to
the big tent. She took my hands in an expectant
silence, looked up, looked me straight in the
eyes and just said with remarkable emphasis:
“You have to break down the wall that prevents
your happiness.” She took my coins and said no
more. But I understood.
Ramón had to be overthrown, destroyed. This
acrobat, trapeze worker and animal trainer held
me in contempt and was the cause of my
sufferings. All I had
to do was loosen the knots on the net and wait
for Ramón to collapse after one of his arrogant
somersaults from the high trapeze.
I took
advantage of those days when there was great
turmoil between Ramón and Flora caused
by a gorgeous, invertebrate female
contortionist. (newcomer to the circus?) I discretely
prepared everything to make the collapse look
like an accident or a suicide. It was the last
show and just before the curtain fell, the drums
thundered in suspense and the announcer, after a
chilling silence, prompted a cry of expectation
to the audience. Ramón himself had asked him to
announce something new, something never seen
before. As if swallowing his voice in an unusual
solemnity and stressing the syllables of his
speech he exclaimed, “Ladies and Gentlemen,
please listen attentively and keep a respectful
silence. Everyone will now
watch Ramón Urrutia’s great mortal somersault
after performing three rounds in the air.
As it was in those distant
places, there was no one to claim or honor the
body of Ramón, I,
myself, had to slaughter the trainer, feeding
his flesh to the voracious appetite of the
tigers. I promised Flora that I would
take care of her, that I would
be her support and comfort and that I would
never leave her. That’s why tomorrow will be
the happiest day of my life. I am
free of fears and Flora will marry me!
FERNANDO UREÑA RIB
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FERNANDO
UREÑA RIB
Born
in La Romana, Dominican Republic, in 1951, Fernando Ureña Rib
began his Art training at the Age of twelve cumulating with a
degree and designation as Professor of Drawing from the
National School of Fine Arts in Santo Domingo. (1968) During
his post graduate work he studied with Jaime Colson, a
recognized master of Dominican Painting (1969-1971) In the
early seventies he lived and studied in Spain. (1973-1976)
During this time he traveled extensively throughout Europe and
North Africa developing a more comprehensive understanding of
fine Arts as cultural expression.
In 1977 he received an
invitation from the State Department of the United States to
acquaint himself with the major museums, universities Art
schools and galleries of this country. Returning to the
Dominican Republic he was named Director of the Art Department
of APEC University (1978) and later he was appointed Public
Relations Director of the National Museum of Modern Art (1981)
He is a past president of the Dominican Artist Association.
(1992-1994) Fernando Ureña Rib’s work has been exhibited in
museums and galleries in Madrid, Soria, Malaga, Ponce, Bonn,
Mainz, Bad Kissingen, Amsterdam, Rotterdam, Rome, Paris,
London, Frankfurt, Munich, Brussels, San Juan, Miami, Ottawa,
Quebec City, Montreal, Bogota, Caracas, Santiago, New York,
Detroit, Chicago, and Santo Domingo
Fernando Ureña Rib is a
former President of the Dominican Artist Association, member
of AICA, (Association International de Critiques d' Art,
Paris) and AIAP (Association International des Artistes
Plastiques, Paris.
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