writes: Carlos Thomas Temoche You change
CULTURAL POLICIES - "There is need to create a new cultural institutions in the country. "
- "There are few opportunities for political discussion with cultural issues and cultural management issues. During the last election campaign the issue of cultural policy, had no place in the agenda of discussions."
- "In fact, the Peruvian state has played a cultural management in the country, but most of his work has focused on the issue of heritage conservation. "
-" The picture is more complicated if we recognize that civil society in the same cultural sector is very disorganized and not able to make proposals and monitor new laws that benefit. In our view, one can see two major problems here. On the one hand, this sector is not yet a well-organized movement able to arrange a schedule that allows hydraulic fluid dialogues with other partners. On the other hand, tends to assume that to undertake a cultural project requires only good intentions and ideas creative without taking into account the need to know a specific language to manage the various projects more robust. That is, cultural actors themselves have very little understanding of how the state and its formal regulations. In reality, we do projects, we know well the laws and are untrained in the administration. "
-" Culture matters and the state has obligations to fulfill in this field, we also know that culture - or managed - can be an economic resource by civil society, is substantial to redefine democracy and restore the social compact. In fact, the definition of what today we mean by "culture" has ceased to be a wealth of academic and state officials already begun to be a collective effort of many actors. Has left, moreover, be reduced to "art" - in defining humanistic - and has now designed more from the anthropological tradition as substantial dimencion everyday life. At this point it is urgent that citizens are not only in schools or in their families or their religion but, above all, are constituted as subjects and citizens from interactions with television, radio, movies, books and other cultural artifacts, in which cultural policy has a fundamental role.
- "However, beyond this dismal picture is of note that in Peru there is an intense cultural activity that comes from multiple actors. In fact, at present, the most dynamic sectors in cultural production is not in the world "learned" but rather in the pop world. There, different cultural goods (such as those related to music, traditional festivals or even a film production) dynamic circuits have boosted production and consumption of popular historical importance remains to be explored. "
- "In cultural matters, the state is obliged to comply with the population - and not by good will or simple philanthropy - but for many other reasons. In principle, it is international consensus that "no development without culture" and we know that all the political changes that do not include this variable fail or fail to fully settle.
who wields these concepts is Guillermo Cortes. A Guillermo I met him in the First Congress of Cultural Policies and worked in the commission for eight months. Guillermo Cortes, is social communicator with a background in history. He has worked in research and design of various communication projects on issues of culture, tourism and citizen participation. Docente University Diploma in Cultural Management at the Pontificia Universidad Catolica del Peru and the Course of Cultural Heritage of the San Ignasio of Loyola University; Cortés is also the coauthor of the book "Cultural Policies." It would be nice to invite you to an informative talk. Carlos Thomas Temoche V.
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MEETING KNOWLEDGE AND SOCIAL MOVEMENTS On Thursday May 27th I was invited to this international event, to report on the independent theater, the topic addressed was "the Teatro Peruano organizational tools." This shipment is part of this intervention I share it because I owe to this theater. The first thing I did was place on the organizational tools, historical matrices that gave rise to what the critic Hugo Salazar del Alcazar, called "Nuevo Teatro Peruano. Returning to the navel history, in ancient Peru of the Incas, "Yachapayay" was represented by Ricardo Roca Rey, but in earlier times auroral no testimony in cave paintings at Mazo Cruz, Qelqatani Toro Muerto and the presence of sensory communication in the origins of the Peruvian culture: Alfonsina Barrionuevo. In 1616, Luis de Velasco, viceroy, intelligent (?), Ordered the construction of the first local Lima theater: the Comedy Corral. During the Republic, only two presidents attended a theater view: Luis Bustamante y Rivero and Augustus B. Leguia, the dictator Manuel Apolinario Odría said the theater was for gays and prostitutes. " Alfonso Barrantes Lingan and Alberto Andrade Carmona, were mayors who not only attended to see theater, but also promoted. Andrade opened more spaces for the theater that were later closed by the current mayor's chair today Pizarro haunts. But tracing the origin of our tools, we say that precursors were present in the AAA (Association of Amateur Artists, 1938), by the way sui generis theatrical take their production processes. The same is true of Jorge Acuna, when drawn in chalk the words of José Carlos Mariategui, in the Plaza San Martín: "The bourgeois wants the artist flatters your exquisite taste and mediocre." Another offender was illustrated with his theater Victor Zavala peasant reinvindica the poetic richness of Quechua and man of the field is no longer treated pejoratively in the magical space of the theater. The origin of our tools: Sample Peruvian National Theatre, Independent Theatre Movement in Peru, do not occur by spontaneous generation to St. Thomas Aquinas, as one lady there. No. There was an atmosphere that transformed the entire social fabric of how cultural, social, economic and political, especially as Dennis Sulmont called "mountain landslide," the great waves of migration that transformed and are transforming the coastal landscape. Of how urban infrastructure conforms to the interests of capital settlement of nomadic capitalist. Internationally we were all shaken by the Cuban revolution, the war in Viet Nam and the French in May stated: "The imagination to power." In the theater was still valid Bertolt Brecht, the collective creation of the Colombian Santiago García, Enrique Buenaventura and installed for a decade the poetics of the Oppressed, Augusto Boal. Konstantin Stanislavski is wrongly ousted. Thus, as it stems from our planet, in a boiling sea primitive appear coacervates, elements that gave rise to life, so in this decade of 70 displayed the organizational tools. This also gave rise to hundreds of leaders called the essential theatrical independent Peruvian theater, which at the point of guts, determination, sacrifice and high leg organize their events: Exhibitions, Workshops, Festtas, Paco Yunque, Feasts, etc. To be clear, speak only independent theater. But these leaders and their tools suffer from weaknesses and responsiveness to new contemporary challenges, for example, now facing the global expansion of communication, has exposed the growth of resources, there is a need to organize in other spaces and put in the mat the right of the majority. We do not make proposals, or oversee them or do anything to establish relationships with those from the state are obliged to comply with the population, to take into account the presence of the theater in the country's cultural development. Do not ask but straight handouts. Do not forget we are in the international consensus: "Without culture there is no development."
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WORKSHOP MOVEMENT BETWEEN DIALOGUE BETWEEN CRISIS AND OTHER POSSIBLE WORLDS Also, I was invited to this workshop, part of the previous event, was held from May 30 to July 2, 2010, the recreational complex of the Spill Magisterial. An unforgettable experience that I hope to share my knowledge of dynamic innovation geared to the fertile field of theatrical communication. My schemes, a priori set, enriched, others foundered. I expected a boring style experience theater workshops, with a vertical relationship where the teacher is an active element and workshops assume a passive role. No. They are dynamic with inductive methods, deductive and dialectical, where the facilitator is only a playfully provocative leads to a representation of the situation and lessons learned are socialized. Everyone learns no one is left behind, to Makarenko. was an international workshop where leaders from different sectors highlighted our mamachas of Ayacucho, Cusco and Huancayo. While carrying their babies, are computed and placed face to face with the feminists, the Moholo, the Basques, Argentina, Mexico, Uruguay, etc.. Do you know the sacha - Robalino?, That name sounds like the singer says Jorge million. Do you know the Tacna?, Not only to Giglio. Representatives of Puno, mainly Rosita Cachis her leadership, they know our leg, the poet priest Luis Zambrano and Juan Vilches Vilches. Also known to the Incas Nino Mirones, Hugo Salazar and capulis. The rest, the Piriñaca naca are invisiblizados in this modern Noah's ark. The call has nothing to do with stale rolls and antediluvian neanderthalizada Leftists, thankfully not called for here, with few exceptions to the rule, as the Chinaman Jorge Miyagi has his own and made a map of Latin America with potatoes, onions, beans and flowers. There are leaders who run very playful, artistic, political and Uruguayan Raúl Bechi with ancient wisdom, I liked the one that says that the real leader is not forward but back as the carrier and the Argentine Pablo Ares iconoclasts and their teaching maps. There was a solvent teaching team coordinated by the Italian educator Basque Nicola Foroni, composed of employees and members of the Democracy and Global Transformation Programme. This methodology is a work in progress, that does not stop at the surface, there are interactions between individual and collective search for justice within each process and achieve multiculturalism, gender equity, participatory democracy and total. To achieve this, we played, we laughed, danced, drew. In the end, you get to exchange ideas and experiences. Hard condense into a few lines the experience and findings, I promise to do a posteriori to stakeholders. The program, some notes: - Exchange of products, statements of our sites of origin, every time I said it was the Mutiny, liked it when I pointed to a sentence of Augusto Boal: "I taught him to write a peasant word plow, the farmer taught me how to use it. " There were several payments to land, clean Wambis, Yoruba ceremonies to invoke a runaway runaway. - Recognition of diverse voices, fights, bodies, identities, cultures and motivations that make the game. - Rebuild the historical memory of the movements of our America. Achievements and challenges of the movements. - imagining other possible worlds from the dialogue of movement and knowledge. A Viada all, we prepare to go to Huanuco and Huacho!
Note: Attached photo Inauguration parade of "knowledge", with the reappearance of our burrito and two all waka waka.
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