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Bolivia Creativa

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Bolivia Creativa BolivianExpress Grupo Express Press BOLIVIAFree Distribution Issue CREATIVA6 Flaviada: A Family Affair p.4 Bolivian Express Leaves and Grupo Express Press Lines p.6 Directors: Amaru Villanueva Rance, Jack Kinsella, Xenia Elsaesser, Ivan Rodriguez Petkovic p.8 Island of the Sun Editors: Mads Ryle, Andrew Cummings, Amaru Villanueva Rance, (Xenia Elsaesser) Web and Legal: Jack Kinsella Printing and Advertising Manager: Ivan Rodriguez Petkovic p.9 Forget Christmas Social and Cultural Coordinator: Sharoll Fernandez Design: Michael Dunn Cáceres Journalists: Alana Faigen, Jesica Cruel, Mads Ryle, Emma Hall, Andrew Cummings, Art­Entity Juan Manuel Miranda Martinez p.10 Our Cover Photo: Michael Dunn Cáceres Marketing: Jack Kinsella p.12 Crafting The Bolivian Express would like to thank: Alix Shand, Esteban Medrano, Adrian Villanueva, Jusice Christian Vera Advertise with us: [email protected] Address: !"#$%&&'($%&&)'!*+,-+.'/0+#0&)'12.'#+&.)'(3&34%'530$%60+ p.13 Tough Steps Website: www.bolivianexpress.org La Paz – Bolivia, February 2011 ¡Luces, cámara, acción! p.14 p.16 Cultural Calendar p.18 Glossary CONTENTS Editorial by Mads Ryle !"#$%&"'(%'()"'*+,('-.'%/'01223'4('&56'7"'()"'(8&"'%/'()"'9#5,8(5, :,""';3<='7>('()"+"?,'@%()8@A' ,&5##'57%>('%>+'B-%#8C85'D+"5(8C5?'8,,>"3'4@,8E"'()","';5A",'F"?+"'$"#"7+5(8@A'-%#8C85@'$+"5­ (8C8(6'8@'&5@6'/%+&,3'!"'(5G"'5'#%%G'5('(+5E8(8%@,'%#E'5@E'@"FH'/+%&'()"'B)"+8(5A"'%/'$%$5?' examined in the documentary Inal Mama':;IJ=I'(%'()"'#%@AK",(57#8,)"E'&>,8$',5#%@'%/'()"' Flaviadas':;3L='5@E'()"')5@E,;>@'/58+(+5E"';+%E>$(,'%/'Artesanía Sorata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everal Spanish and Aymara words are marked in bold'()+%>A)%>('()8,'8,,>"3'M)"8+'&"5@8@A,'$5@'7"'/%>@E'8@'()"' W3-3'A#%,,5+6'%@'()"'#5,(';5A"3'' Leonard Bernstein (the American 8&&5$>#5("'$%##"$(8%@'%/'7%%G,I' 5#,I'T>,(';"%;#"'F)%'5+"'8@("+",("E' $%&;%,"+'7",('G@%F@'/%+')8,'F%+G' newspapers, magazines and 5@E'$>+8%>,Ia',56,'D+8,(8@53 %@'!",('N8E"'N(%+6=I'5@E'e58&"' +"$%+E,3'b%@'X#5C8%',>7,$+87"E'(%' N5"@R':5'/5&%>,';5$"f%'F+8("+=3 papers in France, England and the M)"',(%+6'%/'()"'X#5C85E5,'8,'5#,%' k@8("E'N(5(",'/%##%F8@A')8,'+"(>+@'(%' ()"',(%+6'%/'5'/5&8#63'9/("+'b%@'X#5­ FLAVIADA ^M)8,'F5,'5@'"Y$";(8%@5#')%>,"Ia' -%#8C85'8@'()"'2<01,3'\"'()+8C"E'%@' C8%?,'E"5()'8@'2<SJI')8,'6%>@A",(',%@' b%@'UE>5+E%'("##,'&"I'^7"$5>,"'%/' $%##"$(8@A'&>,8$'5@E'8@/%+&5(8%@' UE>5+E%'(%%G'()"')"#&'%/'()"'X#5­ A FAMILY AFFAIR ()"'&""(8@A,'%/'5',;"$85#'A+%>;I' 57%>('&>,8$3'' C85E5,3'UE>5+E%'A+"F'>;'#8,("@8@A' 8@("##"$(>5#';"%;#"'/+%&'E8//"+"@(' to the music and mingling with the ,%$85#'%+8A8@,3'4'5,G"E'&6'/5()"+H' ^h6'/5()"+'>,"E'(%',56'()5('5'E8,$' intellectuals and commoners that Current custodian of the B!)6'E%'6%>'E%'()8,g?'9@E')"'5@,F"+"EH' is like a book ­ a register that can ;5,,"E'()+%>A)3'P8G"'5##'X#5C85@%,I' Flaviadas, Eduardo Machicado ‘Well, having so much and not sharing it 7"',5C"E3'X%+'"Y5&;#"'()"'F%+G' )8,'>@E"+,(5@E8@A'%/'&>,8$'F5,' Saravia, in his library F%>#E'7"'5'$+8&"3?a' %/'d5&5@8@'F)"@')"';#56,')8,' enhanced by his close relationship %F@'$%&;%,8(8%@,I'%+'%/'N(+5C8@,G6' F8()')8,'/5()"+H Now the house is home to La Fun­ F)"@')"'E8+"$(,'8@')8,'%F@'F563' “When I was a kid I used to go to E5$8%@'X#5C8%'h5$)8$5E%'i8,$5++53'4(' M)8,'8,'5@'5+$)8C"Ia',56,'b%@'UE>­ $%@$"+(,'F8()'&6'/5()"+'5@E')"' is always open and always humming 5+E%3 used to say that in the end your F8()'$#5,,8$5#'&>,8$3'M)"'X#5C85@%,' #8/"'8,'()"'$%@(8@>8(6'%/'F)5('()"' "@("+'5@E'"Y8('5,'()"6';#"5,"3' M)"+"/%+"I',8((8@A'8@'%@'5'X#5C85E5' %@"'7"/%+"'6%>'E8EI'5@E'4'$5@',""' UC"+6%@"'8,'F"#$%&"'/+%&'()"' is an educational experience as 8(I'F8()'&6'$)8#E+"@3'D+8,(8@5I'/%+' ,"5,%@"E'$%&;%,"+'(%'()"'E+8/(8@A' F"##3'-"/%+"'"C"+6';8"$"'b%@'UE>­ "Y5&;#"I'E8E@?('G@%F'&6'/5()"+I' /%+"8A@"+3 ardo educates the listeners on the 7>(',)"'(5#G,'57%>(')8&'5,'8/',)"lE' #8/"'5@E',"@(8&"@(,'%/'"5$)'5+(8,(I' been seeing him doing everything ^4'()8@G'F)5('5'(%>+8,('$5@'A"('/+%&' T>,('5,')8,'/5()"+'E8E3'\"'5#,%'$%@­ "5$)'E563a 8('8,'(%';5+(8$8;5("'8@'5'(+5E8(8%@3'4(' tinues to keep impeccable records 8,'@%('5'$#8$)jI'8('8,'@%(';5+('%/'()"' %/'#"(("+,I'5+(8$#",I'5@E'E+5F8@A,' b>+8@A'()"'/8+,('X#5C85E5'%/'()"' A+8@A%'(%>+I'5@E'8('8,'@%('&5E"'/%+' 57%>('()"'X#5C85E5,3'9#()%>A)')"' 6"5+'-""()%C"@?,'W8@()'N6&;)%@6' (%>+8,(,3'->('"C"+67%E6'8,'F"#$%&"' E8E'@%('$%@,8E"+')8&,"#/'5@'"Y;"+(I' could always be heard coming here because beyond being a b%@'X#5C8%'F5,'5'E"/8@8("'5/8$8%­ /+%&'9C"3'U$>5E%+3'4('8,'5'(+5E8(8%@' (%>+8,('6%>'5+"'5')>&5@'7"8@AIa' @5E%3 %/'b%@'X#5C8%?,'()5(')8,',%@'5@E' says granddaughter Cristina Ma­ A+5@EE5>A)("+'$%@(8@>"'(%E563' chicado, who has been helping “The only thing I think must go on is ^M)"'X#5C85E5'8,'5'/5&8#6'()8@AIa' F8()'()"'/%>@E5(8%@'/%+'()"'#5,(' $%&;+")"@,8%@I'()8,'()8@A'%/',)5+8@A' ,56,'D+8,(8@53'^M)"'@5&"'$%&",' (F%'6"5+,3 )8,';5,,8%@3'9##'()8,'&5("+85#')5,'(%' /+%&'X#5C8%3'4('8,'5',6@%@6&'5@E' -")8@E'5'7#5$G'E%%+'5('0LLS'9C"­ pats and bolivianos, children and to be able to disconnect them­ be accessible to anyone, not only )"+"'8('&"5@,'(%'A%'(%'b%@'X#5C8%?,' nida Ecuador lies ‘La Casa de las ()"8+'A+5@E;5+"@(,I'/8+,(K(8&"+,'5@E' ,"#C",'/+%&'()"'F%+#EIa',56,'b%@' The house is also adorned with an artists or art students or intellectu­ )%>,"'(%'#8,("@'(%'&>,8$3a X#5C85E5,3?'->('8('8,'&>$)'&%+"'()5@' "Y;"+8"@$"E'X#5C85E5,3 UE>5+E%3 a home ­ it is a shrine to classical TEXT AND PHOTO: JESSICA CRUEL &>,8$'5@E'()"'#8/"'%/'5'&5@'F8()'5' In the corner a grey­haired man Don Flavio never played an instru­ ;5,,8%@3 sits in his best Sunday suit (even &"@('7>(')8,';5,,8%@'/%+'&>,8$' ()%>A)'8('8,'5'N5(>+E56=3'\"'8,'5@' F"@('7"6%@E';)6,8$5#'(5#"@(3'\8,' UC"+6'N5(>+E56'5(',8Y'%?$#%$G'5' >@>,>5#'E8,$'T%$G"6'7>(')"'>,",' #%C"'%/'&>,8$'F5,'@%>+8,)"E'8@' ritual begins behind the black ,(5("K%/K()"K5+('"]>8;&"@(3'UC"+6' ()"'-%,(%@'%/'()"'"5+#6'2<11,3'\"' E%%+'%@'U$>5E%+3'M)"'X#5C85@%,' weekend he spins vinyl records, bought a stereo and began to A5()"+'(%'F%+,)8;3'M)"6'F%+,)8;' cassettes and CDs that keep the collect records and listen to music -""()%C"@I'-+5)&,'5@E'-5$)3' $+%FE'+"(>+@8@A3'\"'8,'()"',%@'%/' at nights in his apartment while They also pay their respects to Don Don Flavio, Eduardo Machicado )8,'@"8A)7%+,'A5()"+"E'(%'"@T%63' Flavio Machicado Viscarra – the N5+5C853 When he returned to La Paz in /5()"+'%/'()"'X#5C85E5,3 2<OS'8('F5,')8,'/5&8#6'&"&7"+,' At this gathering there is an unwrit­ :()"'&5T%+8(6'%/'F)%&'5+"'5#,%' M)"',5#%@'%/')8,'ZO'6"5+K%#E')%&"' ("@'+>#"'[',8#"@$"'8,'+"]>8+"E3'M)"' well­known in the arts commu­ F5,'7>8#(',%#"#6'/%+';"%;#"'(%' attendees sit with closed eyes and @8(6=I'8@("##"$(>5#,'5@E'/+8"@E,'F)%' A5()"+'5@E'#8,("@3'X%+'()8,'%$$5,8%@' &%>(),3'M)"6'$#%,"'%//'5##'%()"+' A5()"+"E3' the room is dimly lit and incense senses so that their ears and minds 8,'7>+@8@A3'4@'()"'/+%@('%/'()"'+%%&' and hearts are open to the musi­ N%&"'%/'()"'78A'@5&",'F)%')5C"' a memorial to the great musical $5#',"#"$(8%@3 C8,8("E'BP5'D5,5'E"'#5,'X#5C85E5,?' $+"5(%+,I'8@'()"'/%+&'%/'5',(58@"E' include both international sensa­ glass window, shines over the ^M)"',"@,"'%/'8('_()"'X#5C85E5`I' tions and local Bolivian academia, &""(8@A3'M)"'&8,&5($)"E',%/5,' 5$$%+E8@A'(%'&6'/5()"+I'8,'(%'7"'5' ,>$)'5,'D"$8#8%'c>R&5@'E"'d%T5,' and chairs mirror their occupants cultural center, and also to let the :8@E8A"@%>,'5+(8,('F)%'/%>@E"E' ['E8C"+,"3'M)"+"'5+"'(%>+8,(,I'"YK people have a space to get lost, ()"'N$)%%#'%/'X8@"'9+(,'8@'P5'Q5R=I' 4 LEAVES AND LINESMads Ryle interviews Eduardo López Zavala, director of Inal Mama h6'*+,('$>#(>+5#'%>(8@A'5/("+'5++8C8@A' %()"+I'%#E"+'F%+G,aI'Pp;"R'("##,'&"3'\8,' ;5+('%/'()"'kN9l,'A%5#'%/'(%(5#'"#8&8@5­ 5@%()"+I'5@E'F)%'$5@l('"5,8#6'&""(I' 5'T%>+@"63'm@"'A%",'(%'()"'8@/"+@%I' C"+6'E"@,"')8,(%+63'9@E'8@'5'$%>@(+6' in La Paz in December was to sneak ^$#"5+#6'8@("+C"@(8%@8,(a'Camino de (8%@'%/'$%$5'5@E'$%$58@"';+%E>$­ ,>$)'5,'()"'\>5+5@8,'5@E'()"'9/+%7%­ ()"'%()"+'(%'()"',G63'M)8,'%@"'(+5C"#,' ()5(l,'C"+63338@(+8$5("'8@'()","'+",;"$(,3' 8@(%'()"';+"&8"+'%/'Inal Mama at the las almas'/%$>,,"E'%@'()"'F"5C8@A' (8%@3 #8C85@,'%/'()"'r>@A5,I'%+'()"'o5##5F5­ to Apolo, he sees the little girls in the The past acts in the present in a very D8@"&5("$5'-%#8C85@5I'/%##%F"E'76'5' $%&&>@8(6'%/'D%+%&5I'F)%,"'^,(+%@A' 65,'5@E'()"'&8@"+,3'i5+8%>,'()8@A,' coca plantations, gathers medicinal ;5+(8$>#5+'F563a #8C"';"+/%+&5@$"'%/'()"'E%$>&"@(5+6l,' connection with their heritage is M)"',6&7%#8$'5,;"$(,'%/'$%$5'$>#(>+"' went to tying them together which re­ ;#5@(,I'+"n"$(,'%@'()"',(>;8E8(6'%/'5' ;%F"+/>#',%>@E(+5$G'/+%&'P5'Q5R' $%@(58@"E'8@'()"8+'("Y(8#",3a'4('7"$5&"' are captured by two Kallawayas, ally had as it were a symbolic, cultural world that takes everything we have Pp;"R')5,'$)%,"@'(%'$+"5("'()8,'8@(+8­ /5C%>+8(",'9(5T%'5@E'/+8"@E,'8@'()"' apparent that these textiles were &"&7"+,'%/'(+5E8(8%@5#';+"K4@$5' 5@E'"$%@%&8$'/%+$"'8@'$%$53a 5@E',"@E,'>,';#5,(8$3'\"l,'5',5A"3'9@E' $5("';8$(>+"':%/'^5',%$8"(6'()5('8,',%'
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