¿Quién  Diablos es Maya Deren?  

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Durante la década del veinte, las vanguardias cinematográficas surgen tras la búsqueda de una nueva sensibilidad estética y marcan el comienzo de un cine diferente y experimental. El uso de objetos comunes en lugar de actores es la principal característica del Ballet Mécanique (Ballet mecánico, 1925) primera película de corriente abstracta, realizada por el pintor, ilustrador, escenógrafo y también -aunque poco nombrado- cineasta experimental Fernand Léger.

Para 1927 la cineasta francesa Gaermain Dulac recordada como la primera mujer en realizar películas de largo metraje, filma su cinta La Concha y el Reverendo la cual fue escrita por el poeta francés de cierta influencia surrealista Antonin Artaud. La película permite ver el inicio de un cine construido a partir de imágenes que de forma consciente o inconsciente se unen para contar historias oníricas; lo que un año después Luis Buñuel y Salvador Dalí reafirman al presentar al público francés Un Chien Andalou, la primera película aceptada por la corriente surrealista de André Breton.

Concebida desde una escritura automática y de libre asociación de imágenes, el cortometraje de a penas 17 minutos de duración, logra exitosamente su objetivo al alejarse de toda hilación lógica en el relato. Sin embargo, la historia del cine experimental no termina ahí, nombres como Jean Cocteau o Robert Wiene ya antes se habían sumado a la lista. Pero es hasta la llegada de la cámara cinematográfica de 16mm que el celuloide es utilizado por Maya Deren para hacer de él un vehículo de exploración personal.

Considerada la mejor y más conocida cineasta independiente experimental, Deren marca el nacimiento de una vanguardia americana al presentar en 1943 Meshes of the Afternoon, su más conocido cortometraje y que hábilmente se introduce en la mente humana al poner al descubierto el inconsciente del personaje y el autor, los cuales son la misma persona.

Su trabajo ha sido definido como poemas visuales o sueños convertidos en filmes. El uso de la cámara lenta, paneos de sutil movimiento y continuos planos subjetivos hacen de las películas de Maya Deren un ensayo sobre el tiempo y el espacio, propio de un sueño que pone al descubierto los sentimientos, ansiedades y emociones que dan forman la experiencia personal de la autora.

A mediados del siglo XX y tras el fin de la Segunda Guerra Mundial, la influencia del existencialismo europeo y la cultura beatnik estadounidense ponían en evidencia la frustración y desesperanza de las nuevas generaciones de posguerra. En este contexto Maya Deren aporto junto con la llegada de la música concreta de Pierre Schaeffer y el primer videoarte de Nam June Paik el surgimiento de un nuevo refinamiento estético, utilizando el cine no sólo como un instrumento generador de historias, sino de exploración espiritual y de extraña narrativa poética.

De origen ruso, su verdadero nombre fue Eleanora Derenkowsky y nació en Kiev durante la revolución rusa. Su padre era psiquiatra y su familia emigró a Estados Unidos en 1922. Sus estudios los realizó en Suiza y en Nueva York donde estudió periodismo. Como periodista se desarrolló en el terreno de la poesía, la danza y la antropología.

Tras emigrar a Estados Unidos, Deren trabajo como secretaria del grupo de danza de la bailarina, antropóloga y coreógrafa Katherine Dunham, la cual la inició e introdujo en el vuduismo y la mitología africana. Después de Meshes of the Afternoon, sus siguientes películas incorporaban cada vez más la danza o la expresión corporal, a tal punto que comenzó a desarrollar lo que ahora se conoce como el cine-dance film. La Fundación Guggenheim le ofreció la primera beca concedida a un cineasta en 1946, el objetivo era investigar los rituales vudús en Haití. El resultado de este trabajo fue el libro " The Divine Horseman: The living gods of Haití" (1953), así como cinco horas de una película que nunca terminó editar.

Maya Deren falleció en Nueva York el 13 de Octubre de 1961 a causa de una hemorragia cerebral.

Filmografía

• 1943: Meshes of the afternoon
• 1944: At land
• 1945: A Study in Choreography for Camara
• 1946: Ritual in Transfired Time
• 1948: Meditation on Violence
• 1959: The Very Eye of Night

Maya Deren
The Complete Films (1943 - 1958)

"The camera of Maya Deren delivers us from the studios: it presents our eyes with physical facts which contain profound psychological meaning; it beats out within our hearts or upon our hearts a time which alternates, continues, revolves, pounds, or flies away…. One escapes from the stupidity of make-believe. One is in the reality of the cinematic fact, captured by Maya Deren at that point where the lens cooperates as a prodigious discoverer." (Le Corbusier, 1945)

Biography
Maya Deren was a brilliant filmmaker and theorist whose films and writings have nevertheless paled beside the even larger legend surrounding her life and death. From the early 1940's until her sudden (and some would say supernaturally-caused) death in 1961, Maya Deren both evoked and exemplified the American avant-garde film movement virtually by herself - as filmmaker, distributor, lecturer, theorist and promoter — all in one fiery personality. She worked completely outside the commercial film industry and made her own inner experience the center of her films.

Maya Deren was born Eleonora Derenkowsky in Kiev in 1917. Her father was a psychiatrist. In 1922 the family emigrated to America and settled in Syracuse, New York. Maya was educated at the League of Nations School in Switzerland, at Syracuse and New York universities, and at Smith College, where she earned a Master of Arts degree in literature in 1938. While still a student at Syracuse, she devoted her energies to the underground socialist movement. As her fascination for photography and film grew, her talent for organization and persuasion was re-channeled.

All the arts lacked subsidies in the forties, but film was one of the poorest. Charismatic and determined, Deren peddled effectively for herself and her peers. She worked ceaselessly to establish facilities and funding for the independent film movement which subsequently grew up in America. She lectured everywhere from Yale University to the Dave Garroway show. In 1946, she was the first filmmaker to receive a Guggenheim Fellowship (for work in "creative motion pictures" ) as well as the first to establish a non-profit film foundation, the Creative Film Foundation. Her work led ultimately to the establishment of the first Film-Makers Co-op in New York. She also wrote numerous theoretical and technical articles for film magazines and in 1946 published a pamphlet, "Anagram of Ideas on Art, Form and Film." Her work was crucial in building an atmosphere of respect for the art of film.

Deren became involved in modern dance, and while she was not trained as a dancer, she was enchanted by the power of movement and the challenges of space and time. While working as publicity assistant, photographer, and secretary to the Katherine Dunham Dance Troupe on tour, she met the Czech emigre filmmaker, Alexander Hammid (nee Hackenschmied,) whom she later married. Though she made only seven films, Deren is credited as being the first dance filmmaker, someone who, Stan Brakhage said, "Made people both think and feel, and dared to give sense its full meaning." In her Statement of Principles she wrote: "My films might be called poetic, referring to the attitude towards these meanings…My films might be called choreographic, referring to the 'design and stylization of movement which confers ritual dimension upon functional motion… My films might be called experimental, referring to the use of the medium itself… I am addressing myself not to any particular group but to a special area and definite faculty in every or any man — to the part of him which creates myths, invents divinities, and ponders, for no practical purpose whatsoever, on the nature of things… The important truth is the poetic one."

Deren inspired and stunned many people in her short life of forty-four years. Her first film, "Meshes of the Afternoon," was made with Hammid, a hand-wind Bolex camera and funds from her own pocket in a period of two weeks in 1943. Fluidly combining mysterious surrealist elements with decidedly female psychological overtones to evoke an image of consciousness, its influence ranks with that of Bunuel's "Un Chien Andalou." Her subsequent films continued to explore space, time, the nature of form, the psyche, the possibilities of cinematic manipulation and the magic of dance.

Deren used her Guggenheim Fellowship to go to Haiti to film Voudoun (voodoo) ceremonies and dances. During this visit she became personally involved in the mysterious religion, which led to her writing "The Divine Horsemen." Although not trained as an anthropologist, she did a painstaking ethnographic study and consulted at length with Joseph Campbell and Gregory Bateson, with the result that the book became the definitive work on Haitian Voudoun. Her film footage, shot between 1947 and 1951, never finished in her lifetime and never seen before 1978, was later culled and edited by her third husband and collaborator, Teiji Ito and his wife Cherel. They added to the footage an anthropological structure and narration (true to the facts and spirit of her book) which though perhaps at odds with the original film's rhythm, clarifies the ceremonies for the viewer and does no harm. This revealing and stunningly photographed documentary, "Divine Horsemen: The Living Gods of Haiti," is perhaps at the center of the Deren legend: the legend of Deren the Voodoo Priestess. It is a film that conveys, perhaps for the first time, the power and beauty of the Voudoun rites free of both the false fantasies of Hollywood and the desensualizing distance of ethnographers. It is a picture of Voudoun viewed by an artist, and one privileged to conduct a study of emotional and psychological perceptions on an intimate and subjective level. It is also the work of an insider; Deren had not only gained the celebrants' trust enough to be permitted to film authentic ceremonies, she also participated in them. In fact, she had undergone initiation as a Mambo, or priestess, and had experienced possession - the center toward which all the roads of Voudoun converge. Of this experience, she wrote:"As sometimes in dreams, so here I can observe myself [dancing]… my sense of self doubles again…except that now the vision of the one who watches flickers, the lids flutter, the gaps between the moments of sight flowing greater…wider…My skull is a drum; each great beat drives that leg, like the point of a stake, into the ground. The singing is at my very ear, inside my head, this sound will drown me!…I cannot wrench the leg free. I am caught in this cylinder, this well of sound. There is nothing anywhere except this. There is no way out. The white darkness moves up the veins of my leg like a swift tide rising, rising; is a great force which I cannot sustain or contain…The bright darkness floods up through my body, reaches my head, engulfs me. I am sucked downward and exploded upward at once. That is all."

Deren died suddenly in 1961, of a strange seizure or apoplectic fit or cerebral hemorrhage, according to varying accounts. It would please her that her picture language still calls out to us, for she concluded her Statement of Principles with these words: "I am not greedy. I do not seek to possess the major portion of your days. I am content if, on those rare occasions whose truth can be stated only by poetry, you will, perhaps, recall an image, even only the aura of my films." Biography from - Mysticfire.com

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