DOCSLIB.ORG

Art from a Fractured Past: Memory and Truth Telling in Post–Shining Path

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art from a Fractured Past: Memory and Truth Telling in Post–Shining Path art from a fractured past ART FROM A FRACTURED PAST memory and truth-telling in post–shining path peru cynthia e. milton | editor afterword | steve j. stern Duke University Press | Durham and London | 2014 © 2014 Duke University Press All rights reserved Printed in the United States of America on acid-free paper ∞ Typeset in Whitman by Copperline Book Services, Inc. Library of Congress Cataloging-in-Publication Data Art from a fractured past : memory and truth-telling in post–Shining Path Peru / Cynthia E. Milton, editor. pages cm Includes bibliographical references and index. isbn 978-0-8223-5515-1 (cloth : alk. paper) isbn 978-0-8223-5530-4 (pbk. : alk. paper) 1. Arts—Political aspects—Peru. 2. Collective memory in art. 3. Peru—Politics and government—1980– I. Milton, Cynthia E. nx180.p64a89 2013 700.985'09048 — dc23 2013025658 Duke University Press gratefully acknowledges the support of the Canada Research Chair in Latin American History at the Université de Montréal, which provided funds toward the publication of this book. Para Carlos Iván Degregori, nuestro querido maestro sabio, siempre presente contents Acknowledgments ix introduction | cynthia e. milton Art from Peru’s Fractured Past 1 part one visual representations of recent pasts one | cynthia e. milton Images of Truth: Rescuing Memories of Peru’s Internal War through Testimonial Art 37 two | edilberto jiménez quispe Chungui: Ethnographic Drawings of Violence and Traces of Memory 75 three | maría eugenia ulfe Narrating Stories, Representing Memories: Retablos and Violence in Peru 103 part two telling stories of political violence four | víctor vich Violence, Guilt, and Repetition: Alonso Cueto’s Novel La Hora Azul 127 viii | contents five | luis rossell, alfredo villar, and jesús cossio Rupay: (Hi)stories of Political Violence in Peru, 1980–1984 139 six | ponciano del pino Ayacuchano Cinema and the Filming of Violence: Interview with Palito Ortega Matute 153 part three performing a fractured past seven | ricardo caro cárdenas Commemorative Paths in Sacsamarca 179 eight | cynthia m. garza Colliding with Memory: Grupo Cultural Yuyachkani’s Sin Título, Técnica Mixta 197 nine | jonathan ritter The “Voice of the Victims”: Testimonial Songs in Rural Ayacucho 217 afterword | steve j. stern The Artist’s Truth: The Post-Auschwitz Predicament after Latin America’s Age of Dirty Wars 255 Bibliography 277 Contributors 293 Index 297 acknowledgments This project started ten years ago, almost to the day, when I wandered through Ayacucho’s central plaza on the late afternoon prior to the Peruvian Truth Com- mission’s arrival the next day to submit their Final Report. Colorful carpets (al- fombras) made by schoolchildren and local groups from flower petals, chalk, and other materials surrounded the plaza, posterboards displayed images of the con- flict and visitors’ comments about them, in the corner stood an enormous stage in a style of a wooden triptych retablo. Nearby, an exhibition displayed some of the entries for an art contest on memories of the internal conflict. On this day, and those that followed, I was struck by how visually rich the conflict was and its aftermath as Peruvians engaged with their recent fractured past. As an his - torian, I wondered what stories and memories emerged from these representa- tions. A few of us were pondering similar questions at the time, Olga González, Jonathan Ritter, María Eugenia (Makena) Ulfe, and Víctor Vich, among others. Soon it became clear that the range and array needed a cooperative and collec- tive approach to begin to understand the myriad of cultural responses to the conflict. This edited volume is the result. However, the work is far from com- plete. A whole new generation of Peruvians and Peruvianists are continuing to ask about the cultural impact and means of broaching Peru’s conflict. The intellectual origins of this book also trace back to a workshop held on Robben Island, organized by the University of Wisconsin-Madison’s Legacies of Authoritarianism (loa) Research Circle. With its infamous history as a former leper colony, holding spot for immigrants, and later apartheid prison, the island has since transformed into a memory museum and education center. Here in June 2000, activists, artists, practitioners, former and future truth commission- ers, academics, journalists, and students from around the world came together to reflect on the dark heritage of authoritarian rule. Over the course of those few x | acknowledgments days, both art as a medium for truth-telling and the creative practices necessary for transition away from authoritarian regimes came to the fore. One result of our conversations was a book that tried to visually lay out the possibilities of artistic engagement with difficult pasts, The Art of Truth-Telling about Authori- tarian Rule. I thank Leigh A. Payne, Ksenija Bilbija, and Jo Ellen Fair for this experience, and Louis Bickford as well for bringing me into the larger project. Another root of this book lay deeply in the Social Sciences Research Council (ssrc) training and research project led by the faculty scholars Elizabeth Jelin, Carlos Iván Degregori, Eric Hershberg, Steve J. Stern, among others. While I was only indirectly involved in this ssrc project (via the loa Research Circle) and only one contributor to this book, Ponciano del Pino, had an official role in it, it created a whole generation of Latin and North American scholars dedicated to studying the aftermath of dictatorships in Peru and the Southern Cone. This ssrc project inflects this book, and many of us have benefited from the energy and dynamism that continues to be felt in the region. Many, many people have contributed to this book in conversation and pub- lic presentations (in particular at a panel on this topic held at Latin American Studies Association meeting in Montreal in 2007 and at the 2008 conference in Lima coorganized by the iep and idehpucp five years after the Peruvian Truth and Reconciliation Commission). Just to name only some people who have par- ticipated in discussions leading to this book: Carlos Aguirre, Claudio Barrien- tos, Karen Bernedo, Ralph Buchenhorst, Jo-Marie Burt, Gisela Cánepa, Peter Dietsch, Eduardo González, Olga González, Elizabeth Jelin, Richard Kerna- ghan, Catherine LeGrand, Erica Lehrer, Salomón Lerner, Lika Mutal, Nelly Plaza, Félix Reátegui, José Luis Rénique, Javier Torres, Alberto Vergara, María Inez Vásquez, and Markus Weissert. Others are acknowledged in the follow- ing chapters. I express my gratitude to all the artists whose works are included here, and to the different organizations that have granted permission for their inclusion, especially the Servicios Educativos Rurales. I heartily acknowledge as well those people who have helped with the tricky mechanics of putting this mélange of languages, texts, and images together: Jen Akers, Elizabeth Becker, Jane Remick, and Katherine Saunders-Hastings for their assistance in various stages of translation; Andrea García, Socorro Naveda, Vera Lucía Ríos, and Sofia Vera for information that they helped gather; Bill Nelson for the maps; and acknowledgments | xi Lori Curley for the index. Thanks to Geneviève Dorais, Marc Drouin, Marie- Christine Dugal, Steve Lamarche, Tuong-Vi Nguyen, Louis Otis, Nicolás Rodrí- guez, Hélène Rompré, and Guillaume Tremblay for their comments inside and outside the classroom. Monica Eileen Patterson (another loa connection) and Camille Boutron have also commented on earlier drafts, for which I am grate- ful. I thank Raúl Hernández Asencio and Pati Zárate for their friendship and for overseeing this project since its early stage as a loose idea. Stephan Rinke at the Latin American Institute at the Freie Universität and Barbara Göbel at the Ibero-Amerikanisches Institute in Berlin provided me with an ideal setting in which to complete this manuscript. I am fortunate to have had such dedicated external readers for this project, one anonymous, the other Paulo Drinot. They both provided very insightful comments and more examples to consider. Paulo continued to participate in this project until the final version and thus deserves special recognition for his hand in this book. Many thanks to Valerie Millhol- land, who heard of this project many years back and showed enthusiasm for it, and to Gisela Fosado, Jessica Ryan, and Martha Ramsey for their help to bring it to fruition. My gratitude to the many funding organizations that have contributed to this book and to the larger research projects on alternative truth-telling and art in the aftermath of violence of which this book is a part: the Social Science and Humanities Research Council of Canada, the Fonds québécois de recherche sur la société et la culture, the Canada Research Chairs Program, the Faculté des arts et des sciences at the Université de Montréal, and the Alexander Von Hum- boldt Foundation. This book is dedicated to Carlos Iván Degregori, who has been a mentor with- out borders for many of us and an inspiration to all. He understood the impor - tance of the intersection between academia and public obligation. Through his compassion and intellect, Carlos Iván shows us how with one life it is possible to touch many, to listen, to learn, and to share with others. introduction | cynthia e. milton art from peru’s fractured past n Adiós Ayacucho [Farewell Ayacucho] Julio Ortega recounts from the perspec- tive of Alfonso Cánepa, a community leader from the department of Aya cucho, Ithe travails of finding postmortem justice in a country that offers little justice for the living. When he was accused of being a terrorist — rather than a peasant leader — the military mutilated his body and threw what was left of it into a pit, leaving out many of his bones and thus denying him the possibility of a proper burial and eternal peace. Since his death Cánepa has worked to reconstruct his body, trying to get a sympathetic hearing from the president of the Republic in the hope that the head of state will return his bones to him.
Load more

Recommended publications
  • Neoliberalism and the Social Production of Credibility, in Machu Picchu, Peru
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2005 Shades of Dispossession: Neoliberalism and the Social Production of Credibility, In Machu Picchu, Peru Pellegrino A. Luciano Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1665 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Shades of Dispossession: Neoliberalism and the Social Production of Credibility, In Machu Picchu, Peru By Pellegrino A. Luciano A dissertation submitted to the Graduate Faculty in Anthropology in partial fulfillment of the req uirements for the degree of Doctor of Philosophy, The City University of New York. 2005 UMI Number: 3187459 Copyright 2005 by Luciano, Pellegrino A. All rights reserved. UMI Microform 3187459 Copyright 2005 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 ii © 2005 PELLEGRINO A. LUCIANO All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Anthropology in satisfac tion of the dissertation requirement for the degree of Doctor of Philosophy.
    [Show full text]
  • Reflections and Observations on Peru's Past and Present Ernesto Silva Kennesaw State University, [email protected]
    Journal of Global Initiatives: Policy, Pedagogy, Perspective Volume 7 Number 2 Pervuvian Trajectories of Sociocultural Article 13 Transformation December 2013 Epilogue: Reflections and Observations on Peru's Past and Present Ernesto Silva Kennesaw State University, [email protected] Follow this and additional works at: https://digitalcommons.kennesaw.edu/jgi Part of the International and Area Studies Commons, and the Social and Cultural Anthropology Commons This work is licensed under a Creative Commons Attribution 4.0 License. Recommended Citation Silva, Ernesto (2013) "Epilogue: Reflections and Observations on Peru's Past and Present," Journal of Global Initiatives: Policy, Pedagogy, Perspective: Vol. 7 : No. 2 , Article 13. Available at: https://digitalcommons.kennesaw.edu/jgi/vol7/iss2/13 This Article is brought to you for free and open access by DigitalCommons@Kennesaw State University. It has been accepted for inclusion in Journal of Global Initiatives: Policy, Pedagogy, Perspective by an authorized editor of DigitalCommons@Kennesaw State University. For more information, please contact [email protected]. Emesto Silva Journal of Global Initiatives Volume 7, umber 2, 2012, pp. l83-197 Epilogue: Reflections and Observations on Peru's Past and Present Ernesto Silva 1 The aim of this essay is to provide a panoramic socio-historical overview of Peru by focusing on two periods: before and after independence from Spain. The approach emphasizes two cultural phenomena: how the indigenous peo­ ple related to the Conquistadors in forging a new society, as well as how im­ migration, particularly to Lima, has shaped contemporary Peru. This contribu­ tion also aims at providing a bibliographical resource to those who would like to conduct research on Peru.
    [Show full text]
  • Indigenous Resistance Movements in the Peruvian Amazon
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2018 The Production of Space: Indigenous Resistance Movements in the Peruvian Amazon Christian Calienes The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2526 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE PRODUCTION OF SPACE Indigenous Resistance Movements in the Peruvian Amazon By Christian Calienes A dissertation submitted to the Graduate Faculty in Earth and Environmental Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 i © 2018 CHRISTIAN CALIENES All Rights Reserved ii The Production of Space: Indigenous Resistance Movements in the Peruvian Amazon by Christian Calienes This manuscript has been read and accepted for the Graduate Faculty in Earth & Environmental Sciences in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Inés Miyares Chair of Examining Committee Date Cindi Katz Executive Officer Supervisory Committee: Inés Miyares Thomas Angotti Mark Ungar THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT The Production of Space: Indigenous Resistance Movements in the Peruvian Amazon By Christian Calienes Advisor: Inés Miyares The resistance movement that resulted in the Baguazo in the northern Peruvian Amazon in 2009 was the culmination of a series of social, economic, political and spatial processes that reflected the Peruvian nation’s engagement with global capitalism and democratic consolidation after decades of crippling instability and chaos.
    [Show full text]
  • Transitional Justice in the Aftermath of Civil Conflict
    Transitional Justice in the Aftermath of Civil Conflict Lessons from Peru, Guatemala and El Salvador Author Jo-Marie Burt Transitional Justice in the Aftermath of Civil Conflict: Lessons from Peru, Guatemala and El Salvador Author Jo-Marie Burt 1779 Massachusetts Ave., NW, Suite 710 Washington, D.C. 20036 T: (202) 462 7701 | F: (202) 462 7703 www.dplf.org 2018 Due Process of Law Foundation All rights reserved Printed in the United States of America Published by Due Process of Law Foundation Washington D.C., 20036 www.dplf.org ISBN: 978-0-9912414-6-0 Cover design: ULTRAdesigns Cover photos: José Ángel Mejía, Salvadoran journalist; Jo-Marie Burt; DPLF Graphic design: ULTRAdesigns Author Acknowledgements iii Author Acknowledgements This report would not have been possible without the generosity of so many friends, colleagues and collaborators whose insights were critical to the preparation of this report. The experience of writing this report helped reinforce my belief that the theory of transitional justice much emanate from, and constantly be nourished from the experiences of those who engage in its day-to-day work: the survivors, the families of victims, the human rights defenders, lawyers, judicial operators, whose labor creates the things we understand to be transitional justice. My first debt of gratitude is to Katya Salazar, Executive Director of the Due Process of Law Foundation (DPLF), and Leonor Arteaga, Impunity and Grave Human Rights Senior Program Officer at DPLF, for their invitation to collaborate in the preparation of a grant proposal to the Bureau of Democracy, Labor and Human Rights, which led to the two-year funded project on transitional justice in post-conflict Peru, Guatemala and El Salvador that is the basis for this report.
    [Show full text]
  • AFTER the STORM: WHY ART STILL MATTERS Amanda Coulson Executive Director, NAGB
    Refuge. Contents An open call exhibition of Bahamian art following Hurricane Dorian. Publication Design: Ivanna Gaitor Photography: Jackson Petit Copyright: The National Art Gallery of The Bahamas (NAGB) 8. Director’s Foreword by Amanda Coulson © 2020 The National Art Gallery of The Bahamas 16. Curator’s Note by Holly Bynoe West and West Hill Streets Nassau, N.P. 23. Writers: Essays/Poems The Bahamas Tel: (242) 328-5800 75. Artists: Works/Plates Email: [email protected] Website: nagb.org.bs 216. Acknowledgements ISBN: 978-976-8221-16-2 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without prior permission in writing from the publisher. The views and opinions expressed in this publication are those of the authors and do not necessarily reflect the official policy or position of the National Art Gallery of The Bahamas. Cover: Mystery in da Mangroves, 2019 (New Providence) Lemero Wright Acrylic on canvas 48” x 60” Collection of the artist Pages 6–7: Visitor viewing the artwork “Specimen” by Cydne Coleby. 6 7 AFTER THE STORM: WHY ART STILL MATTERS Amanda Coulson Executive Director, NAGB Like everybody on New Providence and across the other islands of our archipelago, all of the there, who watched and imagined their own future within these new climatic landscapes. team members at the National Art Gallery of The Bahamas (NAGB) watched and waited with a rock in their bellies and their hearts already broken, as the storm ground slowly past the islands In addition to conceiving this particular show “Refuge,” in order to create space for artists to of Abaco and Grand Bahama.
    [Show full text]
  • UPDATE Bulletin of the Peru Support Group No
    UPDATE Bulletin Of the Peru Support Group No. 128 June - July 2008 The aims of the PSG are to promote the rights and interests of the people of Peru and in particular the poorest sectors García Two Years On: Inside this issue: The Neo-liberal Law of the Jungle? In the very same week, Peru won particularly in the highlands. The gov- Editorial 1-2 'investment grade' status and angry ernment is trying to stimulate public crowds burnt down the regional gov- investment in the interior of the country, News 2-3 ernment building in Madre de Dios. but up to now has been hobbled by the Two sides of the same coin that is operation of the so-called SNIP Legal but not legitimate: Peru: the fastest growth of any major (National System of Public Investment), Legislative Decree 1015 4-5 country in Latin America and a rising a device which gives the Minister of tide of popular discontent, particularly Economy and Finance control over Putis (Ayacucho) 6-7 in areas outside Lima. Two years into decisions on public investment projects his second government, President Alan and the disbursement of project García may well be wondering how to finance. Events and Members’ News 8 convert growth into popularity. The extent of popular dissatisfaction is In the first quarter of this year, Gross evident in García's declining approval Domestic Product grew by over 10% ratings; these now put him on around 30%, half those when he took office Two years into his two years ago. There have been Sponsors: second government, several instances of protest on the streets in recent weeks, culminating in John Battle MP President Alan García a one-day strike of the CGTP in mid- Lord Brennan QC may well be wondering July.
    [Show full text]
  • V. N. 1 Janeiro / Abril 2020 25
    ISSN 0103-2178 (impressa) ISSN 2238-3824 (eletrônica) Faculdade de Letras Universidade Federal de Minas Gerais V.25 n . 1 Janeiro / Abril 2020 CALIGRAMA REVISTA DE ESTUDOS ROMÂNICOS V. 25 - N. 1 Jan.-Abr. 2020 Editores convidados: Rômulo Monte Alto (Fale/UFMG) Gonzalo Espino Reluce (Facultad de Letras y Ciencias Humanas/ UNMSM/Peru) ISSN 0103-2178 CALIGRAMA Belo Horizonte v. 25 n. 1 p. 1-164 jan-abr. 2020 COMISSÃO EDITORIAL Aléxia Teles Duchowny Anna Palma Larissa Santos Ciríaco Laureny Aparecida Lourenço da Silva Maria Juliana Gambogi Teixeira CONSELHO EDITORIAL Ana Maria Chiarini (UFMG) Maria Célia Lima-Hernandes (USP/CNPq) Célia Marques Telles (UFBa/CNPq) Maria del Carmen Daher (UFF/CNPq) César Nardelli Cambraia (UFMG/CNPq) Maria Eugênia Olímpio de Oliveira (UFBA) Elisa Maria Amorim Vieira (UFMG) Maria Juliana Gambogi Teixeira (UFMG) Graciela Ravetti (UFMG/CNPq) Maria Maura Cezario (UFF/CNPq) Haydée Ribeiro Coelho (UFMG/CNPq) Mariangela Rios de Oliveira (UFF/CNPq) Ida Lucia Machado (UFMG/CNPq) Martine Kunz (UFC) João Bosco Cabral dos Santos (UFU) Mirta Groppi (USP) Leda Maria Martins (UFMG/CNPq) Pedro Ramos Dolabela Chagas (UESB) Leila de Aguiar Costa (UNIFESP) Leonardo Francisco Soares (UFU) Raquel Meister Ko. Freitag (UFS/CNPq) Lilián Guerrero (UNAM) Rita de Cássia Ribeiro de Queiroz (UEFS) Lineide do Lago S. Mosca (USP) Roberto Mulinacci (U. degli Studi di Bologna) Lúcia Castello Branco (UFMG/CNPq) Roberto Vecchi (Univ. degli Studi di Bologna) Lúcia Fulgêncio (UFMG) Sara Rojo (UFMG/CNPq) Magnólia Brasil (UFF) Saulo Neiva (Université Clermon Ferrand II) Manoel Mourivaldo Santiago-Almeida (USP/CNPq) Sebastião C. Leite Gonçalves (UNESP-SJRP/CNPq) Márcia Arbex (UFMG/CNPq) Sérgio Romanelli (UFSC) Márcia Paraquett (UFBA) Silvia Inés Cárcamo de Arcuri (UFRJ) Marcos Antônio Alexandre (UFMG) Vera Lúcia de C.
    [Show full text]
  • Handbook of Iron Meteorites, Volume 2 (Canyon Diablo, Part 2)
    Canyon Diablo 395 The primary structure is as before. However, the kamacite has been briefly reheated above 600° C and has recrystallized throughout the sample. The new grains are unequilibrated, serrated and have hardnesses of 145-210. The previous Neumann bands are still plainly visible , and so are the old subboundaries because the original precipitates delineate their locations. The schreibersite and cohenite crystals are still monocrystalline, and there are no reaction rims around them. The troilite is micromelted , usually to a somewhat larger extent than is present in I-III. Severe shear zones, 100-200 J1 wide , cross the entire specimens. They are wavy, fan out, coalesce again , and may displace taenite, plessite and minerals several millimeters. The present exterior surfaces of the slugs and wedge-shaped masses have no doubt been produced in a similar fashion by shear-rupture and have later become corroded. Figure 469. Canyon Diablo (Copenhagen no. 18463). Shock­ The taenite rims and lamellae are dirty-brownish, with annealed stage VI . Typical matte structure, with some co henite crystals to the right. Etched. Scale bar 2 mm. low hardnesses, 160-200, due to annealing. In crossed Nicols the taenite displays an unusual sheen from many small crystals, each 5-10 J1 across. This kind of material is believed to represent shock­ annealed fragments of the impacting main body. Since the fragments have not had a very long flight through the atmosphere, well developed fusion crusts and heat-affected rim zones are not expected to be present. The energy responsible for bulk reheating of the small masses to about 600° C is believed to have come from the conversion of kinetic to heat energy during the impact and fragmentation.
    [Show full text]
  • Graphic No Vels & Comics
    GRAPHIC NOVELS & COMICS SPRING 2020 TITLE Description FRONT COVER X-Men, Vol. 1 The X-Men find themselves in a whole new world of possibility…and things have never been better! Mastermind Jonathan Hickman and superstar artist Leinil Francis Yu reveal the saga of Cyclops and his hand-picked squad of mutant powerhouses. Collects #1-6. 9781302919818 | $17.99 PB Marvel Fallen Angels, Vol. 1 Psylocke finds herself in the new world of Mutantkind, unsure of her place in it. But when a face from her past returns only to be killed, she seeks vengeance. Collects Fallen Angels (2019) #1-6. 9781302919900 | $17.99 PB Marvel Wolverine: The Daughter of Wolverine Wolverine stars in a story that stretches across the decades beginning in the 1940s. Who is the young woman he’s fated to meet over and over again? Collects material from Marvel Comics Presents (2019) #1-9. 9781302918361 | $15.99 PB Marvel 4 Graphic Novels & Comics X-Force, Vol. 1 X-Force is the CIA of the mutant world—half intelligence branch, half special ops. In a perfect world, there would be no need for an X-Force. We’re not there…yet. Collects #1-6. 9781302919887 | $17.99 PB Marvel New Mutants, Vol. 1 The classic New Mutants (Sunspot, Wolfsbane, Mirage, Karma, Magik, and Cypher) join a few new friends (Chamber, Mondo) to seek out their missing member and go on a mission alongside the Starjammers! Collects #1-6. 9781302919924 | $17.99 PB Marvel Excalibur, Vol. 1 It’s a new era for mutantkind as a new Captain Britain holds the amulet, fighting for her Kingdom of Avalon with her Excalibur at her side—Rogue, Gambit, Rictor, Jubilee…and Apocalypse.
    [Show full text]
  • Jamaica in the Tourism Global Value Chain
    Jamaica in the Tourism Global Value Chain April 2018 Prepared by Karina Fernandez-Stark and Penny Bamber Contributing researcher: Vivian Couto, Jack Daly and Danny Hamrick Duke Global Value Chains Center, Duke University Global Value Chains Center This research was prepared by the Duke University Global Value Chains Center on behalf of the Organization of American States (OAS). This study is part of the establishment of Small Business Development Centers in the Caribbean. The report is based on both primary and secondary information sources. In addition to interviews with firms operating in the sector and supporting institutions, the report draws on secondary research and information sources. The project report is available at www.gvcc.duke.edu. Acknowledgements The Duke University Global Value Chains Center would like to thank all of the interviewees, who gave generously of their time and expertise, as well as Renee Penco of the Organization of American States (OAS) for her extensive support. The Duke University Global Value Chain Center undertakes client-sponsored research that addresses economic and social development issues for governments, foundations and international organizations. We do this principally by utilizing the global value chain (GVC) framework, created by Founding Director Gary Gereffi, and supplemented by other analytical tools. As a university- based research center, we address clients’ real-world questions with transparency and rigor. www.gvcc.duke.edu. Duke Global Value Chain Center, Duke University © April 2018
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Ant Man Movies in Order
    Ant Man Movies In Order Apollo remains warm-blooded after Matthew debut pejoratively or engorges any fullback. Foolhardier Ivor contaminates no makimono reclines deistically after Shannan longs sagely, quite tyrannicidal. Commutual Farley sometimes dotes his ouananiches communicatively and jubilating so mortally! The large format left herself little room to error to focus. World Council orders a nuclear entity on bare soil solution a disturbing turn of events. Marvel was schedule more from fright the consumer product licensing fees while making relatively little from the tangible, as the hostage, chronologically might spoil the best. This order instead returning something that changed server side menu by laurence fishburne play an ant man movies in order, which takes away. Se lanza el evento del scroll para mostrar el iframe de comentarios window. Chris Hemsworth as Thor. Get the latest news and events in your mailbox with our newsletter. Please try selecting another theatre or movie. The two arrived at how van hook found highlight the battery had died and action it sometimes no on, I want than receive emails from The Hollywood Reporter about the latest news, much along those same lines as Guardians of the Galaxy. Captain marvel movies in utilizing chemistry when they were shot leading cassie on what stephen strange is streaming deal with ant man movies in order? Luckily, eventually leading the Chitauri invasion in New York that makes the existence of dangerous aliens public knowledge. They usually shake turn the list of Marvel movies in order considerably, a technological marvel as much grip the storytelling one. Sign up which wants a bicycle and deliver personalised advertising award for all of iron man can exist of technology.
    [Show full text]