aos Pueblo, where Robert Mirabal was born, is located at the foot of the Sangre De Cristo Mountains in northern New Mexico. The small Native American community of only about 2000 residents is governed by a Tribal Council and relies mainly on tourism to provide income. The pueblo itself is thought to have been in existence for about a thousand years. Mirabal was raised there in the traditional manner, a lifestyle to which he remains committed. He’s the product of two contrasting worlds, having grown up learning the oral history of his ancestors while listening to Bruce Springsteen andAerosmith on the radio.

A turning point came for Mirabal in 1990 when he met Eiko and Koma, two modern dance artists from Japan. The pair approached him to score the music for a dance piece they had created, inspired by his Taos Pueblo home. The collaboration resulted in his recording Land, and Mirabal traveled the world with them, performing his score. Two years later he was awarded the prestigious New York Dance and Performance "Bessie" for outstanding composition. Land [Warner Western] would later become his first major-label release.

Mirabal [Warner Western], his current release, is a far cry from the solo flute, rattles, and chants which comprised much of his early recordings. While Mirabal’s flute is never far from hand, he also makes use of electric guitars, drum loops, and a rock ’n’ roll sensibility that he claims has been there all along. Those familiar with his music have reacted to the new album with surprise. Mirabal explains, "Some people say it’s different. You know, ‘How could you change so drastically?’ " But he asserts, "It’s not a drastic change of my soul."

Rock ’n’ roll has always been a part of Mirabal’s life. He grew up listening to popular music in the 1980s and, just like many other kids of the time, he idolized rock superstars like Pink Floyd, Ozzy Osbourne, among others. "We would go up in the mountains and act like we were playing for the trees, and the trees were the audience," he remembers. "There’s always this fantasy in a lot of Native kids to play rock music to a large audience. I think it’s because rock ’n’ roll has always had this rebel attitude... It’s always had the essence of a certain anarchy and (been) based on trying to be accepted for who we are, whether it’s a generation or a society."

For the recording of his new album, Mirabal enlisted the help of some well-known musicians. Producer Mike Wanchic, drummer Kenny Aronoff, and guitarist Andy York (all from John Mellencamp’s band), and guitarist/brothers Mark and Matt Andes (Jo-Jo Gunne, Spirit), together with long-time tribal drummer Reynaldo Lujan all formed the studio band. A smaller version of the group, The Steel Ponies, accompanies Mirabal on tour.

Hard work and talent are not the only forces driving Mirabal’s recent success. He recognizes his good fortune, but feels there’s something more. "Goddesses, gods, whatever they may be, are working for this group, for the people around me. I have attracted a lot of good people," he says gratefully. "Whether it’s by choice or whether it’s by spirit, or just me and my energy... We seem to be out here for a certain reason." A deeply spiritual person, he seems always to be aware of that larger force. "We are merely interpretations of some greater being," he explains. "The gods and goddesses in my culture... I am a mere reflection of their teardrops, or their sweat, or their hair follicles, or basically a blink in their eyes."

Mirabal speaks of his home and culture with measured pride and deep respect. He’s eager to share his culture, while at the same time, protective of sacred traditions. He views his live shows as an opportunity to educate as well as create a bond with the audience. "I try to make people feel like they’re comfortable with me," he says. "Because what I’m finding out is once they see a Native man on stage, with the way I dress and the way I perform, they want to look, they want to see, they want to find out something more." He realizes it will take more than mere curiosity to break down stereotypes and encourage learning. Not a confrontational person, Mirabal prefers to rely on a positive message, "rather than to tell non-Native people what they did, what their government did wrong... I’m not into making anybody feel guilty and try to make money off of that guilt. And I feel like that’s what a lot of performers are doing now." His position is clear: "I’d rather create something that makes people feel good, with a touch of brutal honesty."

That brutal honesty surfaces on the narrative "Tony & Allison." The 10-minute fictional piece follows a young Native couple on a journey of robbery, violence and murder. Mirabal’s understated delivery and the repetative "you could die out here and never be found" bring the story to vivid life like the novel you can’t put down. Perhaps the most surprising and danceable of Mirabal’s songs is "Cyberspace Warrior." The unlikely lyrical image of joy sticks, dog soldiers and gigabytes is neatly strung together by an African dance rhythm. The song, Mirabal explained, is based on a dream and explores futuristic evolution in the form of a battle in virtual reality. The phrase "Huxley’s new braves" is a reference to Aldous Huxley, author of Brave New World. The song offers an example of the conflicting cultures that have shaped him and his music.

Mirabal’s talents reach far beyond music. In addition to carving flutes, he is an accomplished visual artist and has written a book of short stories. Each, however, is not viewed as an individual accomplishment. "In our culture, we don’t segregate any of that. That is representative of ceremony. All that is based on how we live. It’s a way of life," he says. "Singing, dancing, painting, carving, making flutes — all that is a way of life."

Having studied music and dance for nearly all of his 32 years, Mirabal recognizes the importance of exposing young people to art. "From ancient times, art has always been at the forefront of education, to give freedom to the children. (It) makes them more complex within what is important to a society," he explained. The doctor, teacher, or engineer who knows art is ultimately more valuable to the community and society. "We become more intellectual and more highly evolved if we offer them (children) the arts."

He expresses dismay at recent governmental cuts in funding for the arts, but shies away from talking politics on stage. "We don’t deal with politics," he insists, wary of being limited by stereotypes. "When you hear ‘Native American’ it tends to lead on to the political side, and that’s not who we are."

Instead, Mirabal’s live interpretation of his music, his culture, and his time is both refreshing and exciting. It is a visual experience as much as a musical one. He seems never to stop moving. His dancing, spinning, almost hypnotic movements add a dramatic element to the performance. And even if you don’t understand the words of his Tiwa language, or you miss the clever turn-of-phrase in a chorus, his emotion and energy conveys the meaning in every song.

There will be many in Mirabal’s night club audiences unfamiliar with his music or even his name. Clearly he hopes they leave having gained some knowledge and understanding while enjoying the show. Nearing the end of a recent concert, Mirabal lifted one of the huge pow wow drums he’d been using a few inches off the floor. Slowly he made his way to the edge of the stage. There, he gently lowered the drum onto the dance floor in the midst of the audience. After passing out drum sticks and demonstrating the beat, he ended the evening with a 49 Song (common at traditional pow wows) and a round dance.

The irony of performing this type of music in a night club wasn’t lost on Mirabal. His agile mind leapt at the opportunity to introduce these willing participants to the power and depth of his culture. To my mind, it conjures the vision of a young Native boy playing his imaginary songs to an audience of trees.

Resource List
Robert Mirabal

Warner Western 9 45858 (1996)

Warner Western 9 46344 (1997)

Warner Western 9 45992 (1995)

MTI/Silver Wave 296 (1996)

MTI/Silver Wave 295 (1995)

Blinking Yellow Books ISBN 1-883968-02-X (1994)

 

Copyright 1998 Dirty Linen Ltd