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Tesis Liliana Correa Final Con Anexos ENERO2015 www.flacsoandes.edu.ec FACULTAD LATINOAMERICANA DE CIENCIAS SOCIALES SEDE ECUADOR DEPARTAMENTO DE ANTROPOLOGÍA, HISTORIA Y HUMANIDADES CONVOCATORIA 2012-2014 TESIS PARA OBTENER EL TÍTULO DE MAESTRÍA EN ANTROPOLOGÍA VISUAL Y DOCUMENTAL ANTROPOLÓGICO IMÁGENES DESDE LA INSTITUCIÓN: EXPERIENCIAS DE REPRESENTACIÓN FOTOGRÁFICA EN ARTESANOS DE PAJA TOQUILLA LUEGO DE SU INCLUSIÓN EN LA LISTA REPRESENTATIVA DE UNESCO EN 2012. UN ACERCAMIENTO A LOS TEJEDORES DE PILE, MANABÍ. LILIANA PATRICIA CORREA RODRÍGUEZ ENERO DE 2015 1 FACULTAD LATINOAMERICANA DE CIENCIAS SOCIALES SEDE ECUADOR DEPARTAMENTO DE ANTROPOLOGÍA, HISTORIA Y HUMANIDADES CONVOCATORIA 2012-2014 TESIS PARA OBTENER EL TÍTULO DE MAESTRÍA EN ANTROPOLOGÍA VISUAL Y DOCUMENTAL ANTROPOLÓGICO IMÁGENES DESDE LA INSTITUCIÓN: EXPERIENCIAS DE REPRESENTACIÓN FOTOGRÁFICA EN ARTESANOS DE PAJA TOQUILLA LUEGO DE SU INCLUSIÓN EN LA LISTA REPRESENTATIVA DE UNESCO EN 2012. UN ACERCAMIENTO A LOS TEJEDORES DE PILE, MANABÍ. LILIANA PATRICIA CORREA RODRÍGUEZ ASESOR DE TESIS: DAVID CORTEZ LECTORAS: MARÍA ÁNGELA CIFUENTES Y LUCÍA DURÁN ENERO DE 2015 2 A mi madre y a mi padre por su apoyo incondicional. A los amigos que acompañaron este tránsito: Kid y Padre. AGRADECIMIENTOS El desarrollo de este proyecto de investigación no hubiera sido posible sin la colaboración de las personas que han estado a mi lado en el transcurso de estos dos años en el Ecuador. Amigos, compañeros y profesores que me han brindado su apoyo a cada instante y me han aportado la fuerza necesaria para persistir y continuar tras cada tropiezo. Agradezco especialmente a las familias de Pile en la provincia de Manabí, quienes me abrieron las puertas de su casa y de su corazón al confiarme su intimidad, a los funcionarios del INPC que se tomaron el tiempo de conversar conmigo, a Andrea M. Santos que me recibió amablemente en Manta y me llenó de información e instrucciones, a Julio César Prado que me recibió en Cuenca y me acompañó durante toda mi instancia y recorridos por la zona. A Mónica Freyle por sus consejos y compañía en Quito cuando más la necesité. Al profesor David Cortez por su bondad y paciencia, a mis compañeros del taller de tesis por el gran aporte de sus experiencias. A Maria Isabel y Pablo, don Víctor y doña Aída por su confianza y el calor de hogar que me brindaron. A mi gran amigo Hugo Chávez que desde la distancia estuvo siempre dispuesto a escuchar mis dudas y leerme cuando era necesario, sus consejos y disciplina me aportaron la seguridad para concluir este ciclo. Y en general, agradezco a todas las personas que de alguna manera hicieron parte de este proyecto tanto en el Ecuador como en Colombia. 4 ÍNDICE Contenido ............................................................................................................ Páginas AGRADECIMIENTOS .................................................................................................................................... 4 RESUMEN ........................................................................................................................................................ 8 INTRODUCCIÓN ............................................................................................................................................ 9 CAPITULO I .................................................................................................................................................. 23 EL FENÓMENO DE LA TOQUILLA: UN ESTADO DEL ARTE ........................................................... 23 1. LA PAJA TOQUILLA : EL PROBLEMA SOCIAL ......................................................................................................................... 28 1.1. LUIS MONSALVE POZO : EL SOMBRERO DE PAJA TOQUILLA ........................................................................................ 30 1.2. TEJEDORAS DE PAJA TOQUILLA : UN ENFOQUE DE GÉNERO .......................................................................................... 32 1.3 TEJIENDO LA VIDA ............................................................................................................................................................... 33 1.4 TRADICIÓN PRECOLOMBINA.............................................................................................................................................. 35 CAPÍTULO II ................................................................................................................................................ 39 EL PATRIMONIO COMO DISPOSITIVO DE PROCESOS IDENTITARIOS REPRESENTADOS A PARTIR DE LA CULTURA VISUAL ......................................................................................................................... 39 DISCUSIÓN DE LA LITERATURA Y HERRAMIENTAS CONCEPTUALES .................................................................................... 40 CAPÍTULO III ............................................................................................................................................... 57 UN RETRATO DE PILE: ACERCAMIENTO A LA IDENTIDAD DEL SER TEJEDOR DE SOMBRERO FINO ......................................................................................................................................................................... 57 1. AURA Y JORGE ......................................................................................................................................................................... 63 2. DOMINGO CARRANZA ............................................................................................................................................................ 69 3 LOS HERMANOS CARRANZA ALARCÓN ............................................................................................................................... 74 4 SIMÓN ESPINAL ....................................................................................................................................................................... 78 5. SOBRE EL PROCESO DE LA DECLARATORIA ......................................................................................................................... 80 CAPÍTULO IV ............................................................................................................................................... 82 UNA CANCIÓN DE TOQUILLA RE-ESCRITA EN 2012 ...................................................................... 82 1. SOBRE LAS LISTAS REPRESENTATIVAS DE UNESCO Y SU RELACIÓN CON EL PATRIMONIO INMATERIAL ............... 86 CUADRO 2. FUENTE : LILIANA CORREA . RESUMEN DEL EXPEDIENTE ................................................................................ 88 2. EXPEDIENTE TÉCNICO PRESENTADO ANTE LA UNESCO EN 2012 ............................................................................... 88 3. SOBRE EL CONJUNTO DE FOTOGRAFÍAS .............................................................................................................................. 95 3.1 ANÁLISIS DENOTATIVO .....................................................................................................................................................100 3. 2 ANÁLISIS CONNOTATIVO ..................................................................................................................................................101 5 4. VIDEO DOCUMENTAL : UNA CANCIÓN DE TOQUILLA ........................................................................................................105 5. A MODO DE CONCLUSIÓN .....................................................................................................................................................108 CAPÍTULO V .............................................................................................................................................. 112 PATRIMONIO INMATERIAL: DE LO PARTICULAR A LO UNIVERSAL COMO PRINCIPIO DE LO AUTÉNTICO. CONCLUSIONES ............................................................................................................ 112 SOBRE LA ÉTICA DE LA REPRESENTACIÓN ............................................................................................................................122 UNA PERSPECTIVA DE AUTORREPRESENTACIÓN : EL AUTORRETRATO Y LA MIRADA SOBRE SÍ ...................................126 SERIE DE AUTORRETRATOS FOTOGRÁFICOS DE ARTESANOS TEJEDORES DE SOMBREROS FINOS EN PILE, MANABÍ. 2014. ..................................................................................................................... 132 TABLAS ANEXAS ..................................................................................................................................... 149 CUADRO Nº: 1. FUENTE : LILIANA CORREA . DESCRIPCIÓN DE LA CADENA OPERATIVA DEL SOMBRERO FINO DE PAJA TOQUILLA EN LA PROVINCIA DE MANABÍ . .............................................................................................................................149 TABLA Nº1. FUENTE : LILIANA CORREA . ..............................................................................................................................151 LISTAS REPRESENTATIVAS: 1. LISTA DE SALVAGUARDIA URGENTE ................................................................................151 TABLA Nº3. FUENTE : LILIANA CORREA . .............................................................................................................................152 CRITERIOS DE SELECCIÓN PARA AMBAS LISTAS REPRESENTATIVAS ................................................................................152
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