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Filipinas): Historias Etnográficas Sobre Impacto Y Sostenibilidad

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Filipinas): Historias Etnográficas Sobre Impacto Y Sostenibilidad TESIS DOCTORAL AÑO 2015 LA “COMEDIA” DEL DESARROLLO INTERNACIONAL EN LA ISLA DE CAMIGUIN (FILIPINAS): HISTORIAS ETNOGRÁFICAS SOBRE IMPACTO Y SOSTENIBILIDAD ANDRÉS NARROS LLUCH DEA EN ANTROPOLOGÍA SOCIAL DEPARTAMENTO DE ANTROPOLOGIA SOCIAL Y CULTURAL -FACULTAD DE FILOSOFIA- UNIVERSIDAD NACIONAL DE EDUCACIÓN A DISTANCIA (UNED) DIRECTORA: BEATRIZ PÉREZ GALÁN CO-DIRECTORA: FENELLA CANNELL Dedicatoria A mis padres, por todo ese aliento que me dieron en mis siempre cortas visitas a España……. allí, en la cocina de mi madre, durante esas comidas con sabores a hogar, seguidas de sobremesas eternas. Un amor expresado en escucha y aliento, que ha sido una motivación única a largo de esta aventura que ahora les dedico, con el mismo amor que me dieron, esta vez de regreso… A Beatriz y a Octavio. 2 Agradecimientos A todas esas personas que han formado parte de este apasionante viaje. Mis compañeros del School of Oriental and African Studies de la Universidad de Londres, a David Landau, James Martin, Nyna Raget, gracias por hacer más bello este largo trayecto. A Honorio Velasco, Fenella Cannell, Rafael Vicente, David Lewis, David Marsen, David Mosse y John Sidel, a unos por inspirarme a otros, por alentarme. A mi directora, Beatriz Pérez Galán, no solo por dirigir sino también por apoyar y confiar en mi trabajo. A Valentín Martínez, por facilitarlo. A mis amigos de San Pedro…a Josefina, Zoila, Crispina, Aquino, gracias por hacer mi aprendizaje más humano. A aquellos niños de la aldea que después el tiempo convirtió en mis amigos más fieles, a Jessica, Wincelet, Florame, Reymart…. A mis viejos amigos de la cooperación, a aquellos que sabiendo de las profundas limitaciones de dicha industria continúan trabajando al son de sus ideales. Tomás López de Búfala, gracias. Y a una persona muy especial que desde detrás y en silencio, con una sonrisa limpia, infinita, me empujó sin descanso hasta el final del trayecto….A Marika Lacchin. 3 Índice de Contenidos Introducción…………………………………………………….…………..… 10 Objetivos y preguntas de la investigación…………………………………. 14 Ámbito empírico…………………………………………………………….. 14 Itinerario de la tesis………………………………………………….. 27 1) Metodología y técnicas de investigación…………………...……….. 31 1.1. El proceso de construcción del objeto……………………………… 31 1.2. El trabajo de campo etnográfico……………………………………. 37 1.2.1. La entrada en el campo……………………………………… 37 1.2.2. Negociación de papeles y roles desempeñados……………… 38 1.2.3.Informantes clave…………………………………………..… 44 1.3. Las técnicas de investigación………………………………………… 45 1.3.1 Revisión documental del programa SAIL…………………… 45 1.3.2 Entrevistas en profundidad………………………………….. 46 1.3.3 Grupos de discusión………………………………………… 46 1.3.4 Fórum-Teatro………………………………………………... 47 2) Marco Teórico: El desarrollo………………………………………… 49 2.1 La antropología y el desarrollo: un encuentro agridulce……… 49 2.2 El discurso del desarrollo…………………………………… 50 2.3 Conocimiento local y conocimiento científico……………… 57 2.4 Gestión, Planificación y participación………………..……. 64 2.5 El actor y la estructura: ................................................................ 70 2.6. Haciendo etnografía del desarrollo……………………………….. 76 4 3) Las formas de poder y sus escenificaciones en la Historia…………….. 79 3.1 Cartografías del poder en el sudeste asiático: el poder tradicional…….….. 79 3.2 Cartografías del poder en Filipinas: lenguaje, cognición y representación… 89 3.2.1 Notas metodológicas……………………………… 89 3.2.2 Un barangay en el siglo XVI………………………… 91 3.2.3 La imposición colonial: amor, lenguaje y negociación……… 97 3.2.4 La komedya como metáfora: celebrando el encuentro colonial….103 3.3 Cartografías del poder en la isla de Camiguin: escenificaciones locales del poder…………………………………………………………………. 111 3.3.1. Notas metodológicas ………………………………………. 111 3.3.2.Historias de la isla………..…………………………….. ……. 112 3.3.2. Celebrando encuentros contemporáneos….…….…………........... 120 4) El encuentro con SAIL. Negociando y domesticando al desarrollo 128 4.1 Familias, patrones y clientes………………...………………..… 129 4.2 Votos, pobreza y desigualdad…………………………........................ 134 4.3 El programa SAIL……………………………………………….. 141 4.3.1 Origen del programa…………………………………… 141 4.3.2 Tensiones políticas durante las primeras fases de SAIL…….… 144 4.3.3 Las micro-tecnologías del poder en SAIL……………………. 149 4.4. Arqueología de SAIL: Una aproximación etnográfica………………… 153 4.4.1 El proyecto de agua………………………………………..… 155 4.4.2 El proyecto de ecoturismo…………………………………… 164 4.4.3. Domesticando a SAIL: las percepciones locales sobre la “komedya” del Desarrollo…………………………………………………………. 174 4.4.3.1 Domesticando el lenguaje del desarrollo………….… 175 5 5) Un alto en el camino……………….…………………………………. 185 Bibliografía………………………………………………………………….. 201 Anexos……………………………………………………………………..... 227 I. Lista de entrevistas, discusiones de grupo y fórum-teatro…………………. 22 II. Biografía de Placido Reyes por Vicente Elio……………………………. 233 III. Carta de Vicente Elio al Consejo Municipal de Mambajao……………… 238 6 Índice de figuras 1. Celebración de una komedya en 1899, Rizal, Filipinas. (1999)…………. 10 2. Mapa del Sudeste Asiático ……..……………………………………. 16 3. Mapa de Filipinas. ………………………………........................... 16 4. Isla de Mindanao. ………………………………………………….. 17 5. Isla de Camiguin. ………………………………………...… 17 6. Vista del volcán Hibok-Hibok desde San Pedro. ……………….... 19 7. Escenas de la vida cotidiana en el barangay de San Pedro. ………………… 20 8. Escenas de la vida cotidiana en el barangay de San Pedro. ……………...…. 20 9. Un “sari-sari” de San Pedro…………………………… ……………... 21 10. Carpintero de San Pedro trabajando bambú……………………………… 39 11. Trabajo con los niños de San Pedro durante el campamento de verano.…. 39 12. Cemadar Rodríguez y el investigador en la casa-hostal de San Pedro. ……….41 13. Habitantes de las montañas de Camiguin (Sagay) descendientes de los Manobos y hablantes de la lengua Kinamiguin. ………………………………………. 113 14. Curandero tradicional de Sagay. …………………….…………..……. 114 15. Ruinas de la Iglesia de Catarman. ……………………………………. 115 16. Karaoke de Camiguin. ……………………………………………….. 122 17. Informantes de San Pedro con el investigador en un Karaoke ………………. 123 18. Espectadores del concurso de talento en San Pedro (2012). …………….. 124 19. Bailarines de hip hop en la plaza de San Pedro. ………………………………125 20. Artista ganadora del concurso de talento en San Pedro. ………………….. 126 21. Casa colonial de los Apar en San Pedro. …………………………. 135 7 22. Cocinando “lechón baboy” en casa del Capitan, San Pedro…………… 139 23. Mujeres del barangay cocinando para festejar el día del patrón en casa de la Capitana........................................................................................................ 140 24 y 25. Capacitaciones de la ONG filipina. …………........………….… 152 26. Vieja placa con el logo de la AECID. …………….…………………. 154 27. Tanque de agua de SAIL en San Pedro ……………............................ 154 28. Uno de los hogar de San Pedro sin acceso a agua. ……………………… 159 29 y 30. Danzas de las celebraciones del Festival de Lanzones, Camiguin…..... 165 31. Tienda de artesanía local en San Pedro, Proyecto de ecoturismo. ……………168 32. Productos de artesanía local de San Pedro…………………………….. 168 33 y 34. Carretera nueva que cruza la isla de Camiguin…………………….… 173 35 y 36. Visita de la Reina de España a Camiguin para conocer el programa SAIL………………………………………………………………………… 175 8 Lista de Acrónimos AECID: Agencia Española de Cooperación Internacional y Desarrollo. CIWASCO: Camiguin Integrated Water Service Cooperative (Cooperativa de Servicio de Agua Integrado de Camiguin). NEDA: National Economic and Development Authority (Autoridad Nacional de Economía y Desarrollo). NSOP: National Statistic Office of the Philippines (Unidad Nacional de Estadística en Filipinas) ONG: Organización No Gubernamental. PMU: Program Managament Unit (Unidad de Gestión del Programa). SAIL: Spanish Assistance Integrated Livelihood Program (Programa español de Asistencia al desarrollo). 9 Introducción ¿Es el desarrollo internacional una comedia? ¿En qué sentido? ¿Es el título de este trabajo una broma pesada? No, no es una broma. Es sencillamente la mejor forma que he encontrado para definir lo que sucede cuando un proyecto de desarrollo internacional aparece en “escena” en una aldea filipina. El desarrollo internacional opera como una comedia, pero no la clase de comedia que viene a nuestra cabeza en primera instancia, sino como la comedia filipina, aquella vieja “komedya” traída por la colonia española a las aldeas rurales del archipiélago desde el 1598. La komedya, el drama de teatro más popular en Filipinas durante cuatro siglos, ofrecía al poder colonial el escenario para ser interpretado. Originariamente española, de la mano de Lope de Vega en el siglo XVI, la komedya articulaba en versos romances la vida y amores de los reyes, reinas, príncipes y princesas de los reinos medievales europeos así como sus luchas contra sus enemigos los Moros. Conocida como “Moro Moro” en tagalo y “Linambay” en bisaya, la komedya era una representación de los valores feudales en la lengua vernácula pero plagada de palabras en castellano tales como “honra”, “batalla”, “potencia”, “causa”, “criado” o “ejercito”. La komedya venía a anunciar la llegada de un nuevo orden. La gente, la audiencia, observaba primero perplejo la representación. Más tarde se familiarizaba con ella. Después la domesticó otorgándola un nuevo contenido semántico y social. Figura 1. Celebración de una komedya en 1899 en la provincia de Rizal, Filipinas. Fuente: Tiongson, 1999 10 En las Filipinas del siglo XXI los proyectos
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