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Vaitea Patrimonio Arqueológico En Riesgo

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Vaitea Patrimonio Arqueológico En Riesgo Rapa Nui - Mayo 2012 Vaitea Patrimonio Arqueológico en Riesgo Año 5 Archeaological heritage in danger Nº 51 Marcoyora Reina de la Isla - Queen of the Island l pasado Día de la Mujer, la alcaldesa de la Ilustre n International Women’s Day, the mayor of Isla de Municipalidad de Isla de Pascua no sólo destacó a las Pascua paid homage not only to Rapanui women, mujeres R apa Nui, sino también recordó a la conocida but also remembered the well known Chilean folclorista chilena Margot Loyola Palacios, quién fue folklorist, Margot Loyola-Palacios, who was the Ela primera persona en dar a conocer, tanto en Chile como en el Ofirst person to make known the valuable musical legacy of Rapa extranjero, el valioso legado musical de Rapa Nui. Gracias a ella Nui, both in Chile and overseas. Through her efforts, Chilean los escolares de norte a sur del país comenzaron a entonar el “Opa children from north to south sing “Opa Opa” and “Sau Sau” Opa” y el “Sau Sau” en el repertorio musical escolar. within their school curriculum. Photos by “Fondo Investigación y Documentación de la Música Tradicional Chilena Margot Loyola P. - Pontificia Universidad Católica de Valparaíso 1 Sus primeros contactos con la música isleña fueron Her first contact with music from the Margot en centro unas grabaciones recogidas por el arqueólogo Island was through some recordings made ceremonial Orongo Roberto Montandón en 1952. Al poco tiempo by the archaeologist Roberto Montandón at Orongo ceremonial conoció a Felipe Teao Riroroko de 40 años, in 1952. Shortly thereafter she met Felipe center quién viajó al continente por razones de salud. Teao-Riroroko who had travelled to Chile “Compartí con él mi hogar, era un hombre sin vicios for medical reasons. “I shared my house with como todos los isleños que he conocido”, relata ella him. He was a man without vices, as are all en una entrevista, “nunca le pedí una canción, the Islanders whom I’ve known”, she told in an cuando él sentía la necesidad de cantar, tomábamos interview. “I never asked him for a song. When las guitarras y cantábamos juntos. Así, lentamente, la he felt the need to sing, we would pick up the magia de esta música se fue adentrando en mi, hasta guitars and sing together. So, slowly, the magic sentirla como propia.” Al año Felipe debió regresar a of this music became part of me until I felt it as la isla y llegó a ocupar su lugar María Ignacia Paoa, my own.” At the end of the year Felipe had to reina del Sau Sau, danza en boga en la isla. Con ella return to the Island and in his place appeared aprendí los secretos de este baile, hoy casi extinguido.” María Ignacia Paoa, the queen of the Sau Sau, a popular dance on the Island. “With her I Margot Loyola estuvo en dos oportunidades learned the secrets of this dance which has almost en Rapa Nui (1961 y 1975), aparte de alojar disappeared today.” innumerables veces a visitantes pascuenses en su casa en Santiago. Le solían decir, “Marcoyora, Margot Loyola was twice on Rapa Nui (1961 tu ser reina en la isla”. A comienzos de 1959 and 1975) and would host visiting Islanders la visitaron José Pakomio, Guillermo Nahoe, innumerable times at her home in Santiago. Gabriel Tuki y Rodolfo Paoa, con los cuales creó They used to say, “Marcoyora, you are the Queen un quinteto y juntos recorrieron escenarios, radios of the Island”. In early 1959, she was visited by y ferias, llegando a actuar en el Teatro Municipal José Pakomio, Guillermo Nahoe, Gabriel Tuki de Santiago en 1960. Rodolfo Paoa siempre la and Rodolfo Paoa, with whom she formed a recuerda con respeto, “en ese tiempo yo tenía 16 quintet. Rodolfo Paoa always speaks of her años y estaba haciendo el servicio militar. Vivía con with much respect. “At that time I was 16 years Gabriel Tuki en Santiago y estuvimos trabajando old and doing my military service. I lived with varios meses con ella. Nos solía llevar a actuar en Gabriel Tuki in Santiago and we worked with ferias, radios y otros escenarios; en 1960 llegamos her for several months. She would take us to a actuar en el Teatro Municipal de Santiago. Un perform in fairs, on the radio and other places; año después salió mi traslado a la isla y cuando se lo in 1960 we even performed in the Municipal comuniqué, ella decidió su primer viaje a Rapa Nui Theater of Santiago. The next year I was being en el buque Pinto”. transferred to the Island and when I told her, she decided to make her first trip to Rapa Nui Margot profundizó su aprendizaje con Kiko in the Navy ship Pinto”. Paté, Susana y Verónica Atan, Anita Paoa, Leonardo Pakarati, Esteban Teao, Esteban Atán Margot deepened her knowledge with Kiko y Ricardo Hito, de quienes conoció los cantos Paté, Susana and Verónica Atan, Anita Paoa, Amelia Tepano & Margot Loyola 2 Leonardo Pakarati, Esteban Teao, Esteban Atán antiguos como el Riu (canciones ceremoniales), and Ricardo Hito, from whom she learned the el Ate (canciones de alabanzas y de amor), el ancient songs of Riu (ceremonial songs), Ate Ute (canciones picarescas), el Kai Kai (cantos (laudatory songs and love songs), Ute (risqué songs), recitados acompañados con figuras de cuerdas) the Kai Kai (songs and poetry recited to accompany y todos aquellos que se cantaban en los años string figures) and all the popular Island songs of setenta y ochenta. Según sus declaraciones, “las the 70s and 80s. She has stated, “the songs of the canciones de la enigmática e idílica Isla de Pascua enigmatic and idyllic Easter Island are sometimes a veces son como voces del paraíso. No solamente like voices from Paradise. Not only because one can porque se cree reconocer la procedencia europea de recognize the European origin of these pieces which esas piezas, que por barcos han llegado a esa isla, have been brought by ships which land on the Island en la que se aclimataron y transformaron; sino por and then become acclimatized and transformed, lo humano en un canto pascuense. Estas sencillas y but for the human element within an Island song. relucientes melodías tonales pueden enredarnos con These simple, shining tonal melodies can trap us su intimidad, también si son originalmente corales in their intimacy, even when it is a song that was o una canción de cuna para un niño muerto. Es originally choral or a lullaby for a dead child. It is sentimiento eterno.” eternal sentiment.” Finalmente, su disco “Isla de Pascua”, grabado Finally her recording “Isla de Pascua”, después de varios años de trabajo con el conjunto produced after many years of work with the pascuense “Taina Pakarati” junto a José Island group “Taina Pakarati”, together with Pakomio y Ricardo Hito, se convirtió en best- José Pakomio and Ricardo Hito, became a best- seller. Margot Loyola ha realizado una vasta labor seller. Margot Loyola has a long résumé as an como académica, investigadora y divulgadora de academic, researcher and promoter of Chilean las danzas y canciones folclóricas y populares de dance and music, both folk and popular. Her Chile. Su amplia gama interpretativa va desde vast array of interpretation ranges from the el complejo canto mapuche hasta la música de complex Mapuche songs to the music of the salón chileno en el siglo pasado. Actualmente Chilean drawing rooms of the last century. esta extraordinaria mujer tiene 93 años y está Today this extraordinary woman is 93 years old postrada en cama. En una de sus entrevistas, and bedridden. In one of her interviews she said: ella decía: “Yo sueño cantando. Tengo todas mis “I dream singing. All my melodies are within me melodías dentro de mí y las siento en cada momento. and I feel them at every moment. I will go to my Llegaré a la tumba cantando.” grave singing.” Isla de Pascua, por intermedio de su alcaldesa Isla de Pascua, by way of the mayor Luz Zasso- Luz Zasso Paoa, hizo entrega a la distinguida Paoa, delivered to the distinguished folklorist a folclorista una simbólica llave de madera symbolic wooden key, specially carved by the especialmente tallada por el artesano Manuel master Manuel Tuki-Tuki, which declared her to Tuki Tuki, declarándola Persona Ilustre de Rapa be a Illustrious Personage of Rapa Nui. Nui. Margot & su marido her Husband a creciente y acelerada presión por extender los límites he rapidly growing pressures to extend the boundaries de la actual ocupación del territorio insular, producto of land available for private use, as a result of the del crecimiento de la población, del tipo de actividades growing population, based on economic needs económicas y de las aspiraciones reivindicativas and the hopes for recovery of ancestral lands, has Lde tierras, ha puesto en el tapete la urgencia de contar con un Tfocused light on the need for urgently up-dating the record of the registro actualizado con las nuevas tecnologías de todos los sitios archaeological sites on the Island, utilizing modern technology arqueológicos de la isla. Previo a cualquier nueva entrega de tierras which has been available only recently. Before any further en el sector de Vaitea, se requerirá completar el registro del total de land in the Vaitea area is assigned, a full registry of the existing los sitios arqueológicos existentes. ¿Cuántos serán? archaeological sites should be made. How many might there be? Hasta la fecha se cuenta con 19.000 sitios arqueológicos To date 19,000 archaeological sites have been registered, registrados, que corresponde al 80% del patrimonio arqueológico corresponding to 80% of the total archaeological heritage.
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