With:
Daniel Medina de la Rosa: kanari, lyrics and voice
Erasmo Medina Medina: raweri
Philip Glass: piano and arrangements
Victor Sanchez: Cultural Adviser and Associate Producer
Concept: Philip Glass, Daniel Medina de la Rosa and Victor Sanchez
Indigenous Cultural Adviser: Alfredo Gonzalez (Tayau)

$75 VIP Premium Table Seating (first row of tables)
$55 GA Table Seating
$30 Standing Room

INDIGENOUS WORLD IN DAYS AND NIGHTS
As can be seen in many of his operas, music for films and his albums in collaboration with artists from around the world; Philip Glass has been interested in the music, philosophy and spirituality of ancestral cultures across the world, throughout his entire life. These experiences have represented for him not only an artistic research; but also part of his personal and spiritual development quest.

During the last twenty years, the renowned composer has dedicated time and energy to know the deepest
aspects of the world culture; so he has traveled extensively through remote corners of the world, where he has visited indigenous communities, archaeological sites and natural remote places; all of which has left a deep imprint on both his soul and his work.

As an example of this, The Symphony No. 7, named Toltec, is his personal tribute to the indigenous cultures of
Mexico, both of the past and the present.

THE SPIRIT OF THE EARTH
The Spirit of the Earth, was originally presented in Mexico City in of December of 2017, as a prelude to the
Toltec Symphony’s Mexico Premier; since it allows getting a sense of the human, cultural and spiritual context; deeply personal, from which the Toltec Symphony arises.

This public collaboration with wixarika musicians started with the Concert of the Sixth Sun that took place in Real de Catorce, SLP, Mexico, in December 2012 and the album of the same name that was made out of that musical meeting.

DANIEL MEDINA DE LA ROSA AND ERASMO MEDINA MEDINA
Daniel Medina de la Rosa, who plays the Wixarika violin (xaweri) and delights us with his voice, is a traditional Wixarika musician, follower of a lyrical and spiritual heritage, which goes back many centuries before the conquest.

Besides dedicating himself to cultivate the land to make a living, from an early age he was touched by the gift of music; which he uses as a way to share the experiences, visions and messages he receives from his deities during the pilgrimages and ceremonies in which he has participated and continues to participate, throughout its life.

Erasmo Medina Medina, who plays the Wixarika guitar (kanari), is the son of Daniel Medina de la Rosa and a follower of the same tradition.

ON THE TYPES OF WIXARIKA MUSIC
Music is an integral part of the spiritual life of the Wixaritari; and there are several types of singing in their
culture. Among them are distinguished on the one hand, the famous singing of the marakame or cantador;
whom we could describe as one of the central shamans of the community; who has the responsibility to give voice to Grandfather Fire. These type of songs are exclusively ceremonial and therefore they are restricted to that context.

On the other hand there are the songs received individually by the musicians/pilgrims like Daniel, in which he remembers and describes what he saw; what he listened or what he said during his encounters with the sacred powers or Poderios Sagrados.

These are his songs and he can share them whenever his heart asks for it; in any place and before any person willing to listen to him with respect and with an open heart.

ABOUT WIXARIKA CULTURE
The Wixarika people have attracted the attention, as much of anthropologists and academics in general, as of spiritual seekers and artists; without us being able to finally determine what is that makes them so special. They are too often described in terms of their shamanic practices and the use of peyote, in a reductionist vision that prevents us from getting a real sense of the broad spectrum of their cultural, spiritual and human richness.

Like all human cultures, the Wixarika one is important and deserves to be supported and preserved; But the Wixarika case is particularly important since they are perhaps the last living indigenous people who that despite nonstop pressure during five centuries, has managed to maintain their Pre-Hispanic cosmogony and a spiritual tradition based on the sacredness of nature.
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It is with great satisfaction that Philip Glass invites us to share the ancient magic of the Wixarika music and sensibility; right in this moment when we need, as never before, to pay attention to this part of our universal human culture that is so often forgotten and undervalued.