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Periodismo Cultural En Los Tiempos De La Pandemia / Cultural Journalism in the Time of Pandemic La Conquista De El Imperio Teresita Goyeneche

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Periodismo Cultural En Los Tiempos De La Pandemia / Cultural Journalism in the Time of Pandemic La Conquista De El Imperio Teresita Goyeneche » Índice Index Créditos 4 Credits 4 Introducción 6 Introduction 11 Prólogo 16 Prologue 22 1. Y se hizo la música 27 And Music Was Born 27 “La Conquista de El Imperio” “The Conquest of El Imperio” Teresita Goyeneche (Colombia) 28 Teresita Goyeneche (Colombia) 62 “Música contra el covid” “Music Against COVID” Nathalie Iriarte (Bolivia) 93 Nathalie Iriarte (Bolivia) 108 “Ivana Mer le dedica su nuevo disco “Ivana Mer Dedicates a New a la Tierra” - Eva Kopecká 121 Album to the Earth” - Eva Kopecká 136 (Eslovaquia) (Slovakia) 2. Un mundo propio 149 A Private World 149 “Ida Vitale no tiene tiempo para “Ida Vitale Has No Time to escribir” - Ana Pais (Uruguay) 150 Write” - Ana Pais (Uruguay) 167 “Estática, aquí no hay nada “Static, Nothing to See Here” que ver” - Mebrak Tareke (Eritrea) 183 Mebrak Tareke (Eritrea) 198 “Lemebel Superstar” “Lemebel Superstar” Ernesto Garratt Viñes (Chile) 215 Ernesto Garratt Viñes (Chile) 235 “El teatro como antesala de la “Theatre as an Antechamber to política” - Cláudia Marques Santos 253 Politics” - Cláudia Marques Santos 265 (Portugal) (Portugal) “O teatro como antecâmara da política” - Cláudia Marques Santos 276 (Portugal) “Teresa Karolina reconstruye un hogar” “Teresa Karolina Eclipses Fear” Alejandra Rosa (Puerto Rico) 287 Alejandra Rosa (Puerto Rico) 303 3. Metamorfosis 319 Metamorphosis 319 “Con meme en la distancia” 320 “With Meme in the Distance” 338 Marisol Rodríguez (México) Marisol Rodríguez (Mexico) “Entre la oportunidad y la incertidumbre” 353 “Between Opportunity and 375 Arturo Aguilar (México) Uncertainty” - Arturo Aguilar (Mexico) “Respetable público, encienda su “Dear Public, Turn on your celular, una obra de teatro en la 395 cellphones, a Play in the 409 pandemia” - Luiza Miguez (Brasil) Pandemic” - Luiza Miguez (Brazil) “Respeitável público, ligue o cellular, uma peça de teatro na pandemia” 421 Luiza Miguez (Brasil) 4. Bonus Bonus Relatoría: Periodismo cultural en Report: Cultural Journalism tiempos de la pandemia 434 in the Time of Pandemic 470 Dominique Rodríguez Dalvard Dominique Rodríguez Dalvard (Colombia) (Colombia) » Créditos Credits Maestros - Master Lecturers »Jonathan Levi »Marta Orrantia Maestra invitada - Guest Lecturer »Soraya McDonald Editora y compiladora Editor and Compiler »Dominique Rodríguez Dalvard Traductores - Translators »Jonathan Levi »Marta Orrantia Coordinadora - Coordinator »Silvia Navarro Aguas Diseñadores - Designers »Onney González Sobrino »Julio Andrés Villadiego Cubides »Catalina Uribe Jaramillo Equipo Fundación Gabo Fundación Gabo Team Director general »Jaime Abello Banfi Director del Taller de Periodismo Director of the Journalism Workshop »Miguel Montes Camacho Coordinadora de proyectos Project Coordinator »Silvia Navarro Aguas Directora de comunicaciones Director of Communications »Karen De la Hoz Rodríguez Coordinador editorial Editorial Coordinator »Andrés Martínez Zalamea Coordinador de diseño Design Coordinator »Julio Andrés Villadiego Cubides Diseñadoras gráficas Graphic Designers »Onney González Sobrino »Catalina Uribe Jaramillo Publicación: junio de 2021 Fundación Gabo Centro, calle San Juan de Dios # 3-121, Cartagena, Colombia fundaciongabo.org, [email protected] » Introducción “A mí me sueltan vendado y yo sé que estoy en el Caribe”. Así describió el escritor y periodista colombiano Gabriel García Márquez su conexión visceral con esta parte del mundo, a la cual le debe buena parte la cadencia y exuberancia de su obra literaria y periodística, y que fue el universo cultural que alimentó buena parte de su vida. Inspirados por ese vínculo la Fundación Gabo -que creó el propio García Márquez en 1994 en Cartagena de Indias-, el Ministerio de Cultura de Colombia y Cartago Foundation se unieron en 2012 con el fin de establecer un programa internacional de formación y creación periodística que permitiera a periodistas de todos los continentes encontrarse en Colombia para intercambiar experiencias, fortalecer sus capacidades en periodismo cultural, e investigar y publicar historias desde esta parte del mundo. El resultado fue la Beca Gabriel García Márquez de Periodismo, que se ha convertido en la ocasión anual en la que la Fundación Gabo se abre al mundo y trae al territorio de Gabo -el Caribe colombiano- a reporteros de diversos países para narrar en inglés y español historias de la cultura, en la que se mezclan la riqueza de las manifestaciones populares con escenarios de vanguardia para la literatura, la música, el cine y las artes visuales. Este proyecto intercultural, que en años posteriores ha sido posible gracias a otros aliados como Critical Minded, Fundación Surtigas, la Universidad Jorge Tadeo Lozano, la Organización Ardila Lülle y Procolombia, reconoce la creciente importancia de la cultura en la sociedad contemporánea y cómo se relaciona con asuntos como identidad y reivindicaciones sociales, y su cada vez mayor relevancia en el sector económico. Es una iniciativa que resalta el esfuerzo especial que debe hacer el periodismo por analizar y amplificar el impacto social de la cultura, e ir más allá de la mera descripción de la belleza y la alegría, para indagar y analizar los fenómenos culturales crecientes que son fuentes de cambios y de esperanza. El mismo García Márquez lo dijo de manera expresa: “Para ser periodista hace falta una base cultural importante”. A lo largo de siete ediciones de la Beca Gabo, 110 periodistas, seleccionados entre 1.629 postulantes de más 60 países de cinco continentes, han trabajado en Cartagena la carpintería de los géneros del periodismo cultural, de la mano de los codirectores de la Beca, Jonathan Levi (Estados Unidos) y Héctor Feliciano (Puerto Rico), y de medio centenar de maestros y expertos invitados. Varios grupos de la Beca Gabo aprovecharon el contexto de importantes eventos culturales como el Festival Internacional de Cine de Cartagena (FICCI), el Festival Hay de Literatura, el Festival Internacional de Música de Cartagena, el Carnaval de Barranquilla y el Mercado Cultural del Caribe. También visitaron lugares del Caribe que inspiraron el universo literario garciamarqueano, como Aracataca, Barranquilla, Mompox y Palenque. Y exploraron temáticas como la relación de Gabo con el cine, o la herencia africana que pervive en el Caribe. Resultado de este ejercicio, con la metodología que caracteriza a los talleres de la Fundación Gabo, en donde prima el trabajo práctico y se fomenta el diálogo e intercambio profesional en un ambiente de camaradería e informalidad, se han producido muchas piezas que se han publicado en medios impresos y páginas web, lo que ha permitido incluir en las discusiones editoriales y el radar de los periodistas el valor del patrimonio y cultura del Caribe colombiano, así como el legado de Gabriel García Márquez. Este libro digital y gratuito contiene textos de 11 periodistas culturales de todo el mundo. Son piezas concebidas y escritas en medio de las limitaciones propias de este contexto de pandemia, que transformó completamente lo que habría sido la octava edición de la Beca Gabo. El encuentro, inicialmente planeado para centrarse en el potencial de turismo literario de Cartagena -correspondiente a los hitos patrimoniales y recorridos asociados a las novelas “El amor en los tiempos del cólera” y “Del amor y otros demonios”-, dio paso a un taller virtual que reunió a los autores de este volumen, todos exparticipantes de la Beca Gabo en sus primeras siete ediciones. Los textos aquí compilados son un homenaje al esfuerzo de casi una década por promover el periodismo cultural y la reafirmación del compromiso de la Fundación Gabo por reunir nuevamente en el Caribe colombiano a los mejores exponentes mundiales de esta rama del oficio, cuando las condiciones sanitarias lo permitan. Agradecemos de manera especial a los autores de los textos y la contribución en todos estos años de los codirectores, los maestros y expositores invitados, los periodistas becarios de distintas generaciones, los colaboradores del equipo de la Fundación Gabo y los aliados institucionales, especialmente Critical Minded, que ayudó a editar y publicar este libro. Jaime Abello Banfi Barranquilla Junio 2021 » Introduction "Even if I were set loose blindfolded, I would know I was in the Caribbean". So did the Colombian writer and journalist Gabriel García Márquez describe his visceral connection with the part of the world to which he owed much of the cadence and exuberance of his literary and journalistic work — the cultural universe that nurtured a good portion of his life . Inspired by this connection, the Gabo Foundation—which García Márquez himself created in 1994 in Cartagena de Indias—, the Colombian Ministry of Culture and the Cartago Foundation joined forces in 2012 in order to establish an international program that would allow journalists from all continents to meet in Colombia in order to exchange experiences, strengthen their capacities in cultural journalism, and investigate and publish stories from this part of the world. The result was the Gabriel García Márquez Journalism Fellowship, which has become an annual occasion for the Gabo Foundation to open up to the world and bring reporters from different countries to Gabo’s territory -the Colombian Caribbean- to write—in Spanish and English—stories that speak of the Caribbean culture, one which mixes the richness of popular traditions with the latest in literature, music, and visual arts. This intercultural project, which in later years has been made possible thanks to allies such as Critical Minded, Surtigas Foundation, the Jorge
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