Don’t Miss the 20th Sinaloa International Guitar Festival and Contest 2020

Sinaloan Institute of Culture

Join our celebration enjoying the 5 amazing concerts by the best guitarists in the world! Stefano Grondona (Italy), last exponent of the Segovian heritage. Adriano del Sal (Italy), Brilliant guitarist winner of the most prestigious international competitions. Petra Poláckova (Czech Republic), Excellent, Fine and of great musicality Misael Barraza (Mexico) and OSSLA, World Premiere of Culiacán de Simone Ianarelli Orabá, Guitar Quintet with the most representative guitarists of Sinaloa.

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About

Image may contain: text that says 'CULTURAL DE LA GUITARRA A.C.'

In 2000, three-guitar students from the UAS School of Music set out to create a guitar festival for Sinaloa, which is how Rodolfo Pérez, Erwin Rodriguez and Marco Vinicio Camacho socialize to their still professor Heriberto Soberanes and propose head the project. They also join Francisco Bibriesca and later Daniel Camero and Aldo Rodriguez. They present the initiative to the then Difocur (today Sinaloense Institute of Culture). The institution sympathizes with it and resolves to support it. The University of the West, COBAES, the Ministry of Public Education, and the City Council of Culiacán join the festival. Thus, from that collective effort, the I Culiacán International Guitar Festival was born in 2001.

The formality necessary to attend the new event requires the creation of a Civil Association. Notary public Renato Vega Carrillo, also a classical guitar grower, agrees to join the effort, and take charge of the procedures that would culminate in the creation of the Cultural Foundation of the AC Guitar.

2001 is a difficult year for the new foundation. The inexperience in the need of the members of the foundation is the cause. Participating institutions understand and strongly support it. Labor is achieved labor. In contrast to the difficulties, the festival started with a poster that included a top-level guitarist as principal: Cuban-American Manuel Barrueco. Fortunately, between careers, scares, improvisations and, as said, institutional support, it went ahead. As a reward, although modest their attendance, public acceptance was encouraging during those 7 days of the first event.

From that first edition, the distant March of 2001, the private initiative also joined the project: dinners for participants and tickets to transport the artists, among other grants, reflected their sympathy and solidarity.

In 2002, as a natural – although cautious – growth, is added to the festival in First National Culiacan Guitar Contest. It is convened at the country level, and so the most pomegranate of the Mexican students of the six ropes meets in our capital. They come to measure each other. The municipality of Culiacán provides the important and essential bag of prizes (which it holds up to the present). Over time the festival will gradually add complementary activities: exhibitions of instruments, sale of books, scores, and records of the specialty, a conference of great teachers, and, in recent times, graduates of classical guitar.

Since its inception, the festival invited the municipalities of Sinaloa to join: in addition to Culiacán, permanent headquarters, the cities of Guasave, Los Mochis, Mazatlan, Navolato, Guamúchil, Navolato and El Rosario have enjoyed the presentations of the great guitarists that make up the cast of the great event.

The variety in the programming of the teachers presented by the festival provides an amenity that the audience – now numerous – thanks: the festival brings, from the distance that was necessary, virtuous consecrated persons, such as Léo Brouwer, the famous Cuban composer, Eduardo Fernández, from Uruguay, Paolo Pegoraro and Adriano Del Sal, from the Italian boot, the Spaniard Ricardo Gallén, and the pride of Cuba, Marco Tamayo; to brilliant women like Berta Rojas, from Paraguay, Marta Masters, from the USA, and Anabel Montesinos, from Italy to multiband stars from contests, such as the Polish Marcin Dylla and the Thai Ekachai Jearakul; to specialists in ancient music (Enrique Solinis, from Spain and Jordi Savall, the leading performer of the former viola de Gamba); to jazz luminaries, like Chris Lobo; and folklore (Los Palacios, from Paraguay); Already Mexicans featured on the world stage, such as Gonzalo Salazar and Juan Carlos Laguna. All of them with a common denominator: their high quality. These variety and quality in the artists are responsible for the interest that motivates the numerous students to come year after year to the event (in addition to receiving quality attention from the organizers and treating them with warmth).

2008 represents a milestone in the festival: the foundation agrees to recategorize the contest internationally. The idea bears fruit, since then students from different latitudes are received: From the neighboring United States to distant Brazil and Germany, to name a few examples.

In 2009, the Autonomous University of Sinaloa, which had been supporting the project almost from the beginning, formalized the action by concluding an agreement with the Cultural Foundation of the Guitar.

The presidency of the organization, originally led by Soberanes, passes into young hands, with the natural contributions that this entails: in 2009, with Rodolfo Pérez Berrelleza in the lead, the festival is seen to evolve favorably by managing extraordinary resources and thus being able to add to the cast light fixtures that are difficult to achieve (such as Léo Brouwer, the famous Cuban composer, and Jordi Savall, the leading performer of the former viola de Gamba). Pérez, after a few years of being in charge of the association, passes the post in 2009 to Erwin Rodríguez García, who incorporates the Diploma mode to the festival, and Rodríguez, now in 2011, leaves the responsibility to Marco Vinicio Camacho García, who He currently chairs the agency.

Not everything has been happiness inside the foundation. The discrepancies, the different opinions, the spirits, and other elements like that, have tested their strength. Fortunately, the common love for the guitar, the developed tolerance, the negotiation capacity, the honesty in the conduction, and the general interest in the benefit that the festival brings to the state of Sinaloa, have managed to overcome the difficulties of the diversity of thoughts

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