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Indigenous Media and Political Imaginaries in Contemporary Bolivia Gabriela Zamorano Villarreal

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Indigenous Media and Political Imaginaries in Contemporary Bolivia Gabriela Zamorano Villarreal University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln University of Nebraska Press -- Sample Books and University of Nebraska Press Chapters 2017 Indigenous Media and Political Imaginaries in Contemporary Bolivia Gabriela Zamorano Villarreal Follow this and additional works at: http://digitalcommons.unl.edu/unpresssamples Zamorano Villarreal, Gabriela, "Indigenous Media and Political Imaginaries in Contemporary Bolivia" (2017). University of Nebraska Press -- Sample Books and Chapters. 408. http://digitalcommons.unl.edu/unpresssamples/408 This Article is brought to you for free and open access by the University of Nebraska Press at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in University of Nebraska Press -- Sample Books and Chapters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Indigenous Media and Political Imaginaries in Contemporary Bolivia Buy the Book Buy the Book INDIGENOUS MEDIA AND POLITICAL IMAGINARIES IN CONTEMPORARY BOLIVIA Gabriela Zamorano Villarreal University of Nebraska Press Lincoln and London Buy the Book © 2017 by the Board of Regents of the University of Nebraska The photographs in this volume are courtesy of the Centro de Formación y Realización Cinematográfica and the Coordinadora Audiovisual Indígena Originaria de Bolivia. All rights reserved Manufactured in the United States of America Library of Congress Control Number: 2016043287 Set in Minion by Rachel Gould. Designed by N. Putens. Buy the Book CONTENTS List of Illustrations vii List of Tables ix Preface xi Acknowledgments xv List of Abbreviations xix Introduction 1 1. Past Insurrections, Imagined Futures 17 2. The Plan Nacional, a Process of Indigenous Communication 31 3. Indigenous Media Makers as Political Subjects 67 4. The Political Possibilities of Fiction 119 5. Disputes for Indigeneity 159 6. Narrative and Aesthetics 195 7. Politics of Distribution 237 Conclusions 277 Notes 287 Bibliography 305 Index 319 Buy the Book Buy the Book ILLUSTRATIONS 1. caib media makers shooting an indigenous march in the highlands, 2003 30 2. Meeting of Plan Nacional members with national peasant and indigenous Pact of Unity leaders, 2006 35 3. Shooting in collaboration with regional peasant unions, Alto Beni, 2002 57 4. Plan Nacional radio production in Tarija, 2005 63 5. Indigenous media makers preparing the television program Bolivia constituyente, Sucre, 2007 66 6. Community members building the Center for Community Communication in Sapecho, 2002 82 7. A Communication Strategy Chácobo leader conducting a workshop, Beni, 2006 91 8. Still from Cocanchej sutimpy, Cochabamba, 2004 120 9. Patricio Luna preparing a scene for Ángeles de la tierra with an Aymara yatiri, 1996 140 10. Community authorities arresting a llama thief in Markasan jucha thakahuipa, Oruro, 2005 142 Buy the Book 11. Re- creation of a carnival celebration for Llanthupi munakuy, Potosí, 2000 153 12. Indigenous media makers shooting images of the Puerta del Sol 158 13. caib media makers promoting information campaigns, La Paz, July 2006 185 14. Alfredo Copa interpreting Cinchi in Ángeles de la tierra, Cochabamba, 2003 188 15. Editing process, Beni, 2005 196 16. Still from Venciendo el miedo, North La Paz, 2004 207 17. Video workshop in La Paz, 2002 214 18. Shooting documentary on traditional authorities, La Paz, 2005 219 19. Shooting fiction in Amazonian territories, Beni, 2006 219 20. Set of Bolivia constituyente television program, Sucre, 2006 221 21. Transporting video equipment in Beni, 2006 238 22. Distribution campaign in Potosí communities, 2005 250 23. Distribution campaign in the city of Santa Cruz, April 2006 253 24. Production of Bolivia constituyente television program, Sucre, 2006 256 25. Marcelina Cárdenas and Jesús Tapia during the Eye of the Condor U.S. tour in Washington dc, 2002 259 Map 1. Plurinational System of Indigenous, Originario, Peasant, and Intercultural Communication 34 Buy the Book TABLES 1. Trained media makers, 1997– 2014 36 2. Organizations and functions of the Plan Nacional 38 3. Regional media centers 74 4. Media organizations taking part in the Plurinational System 95 Buy the Book Buy the Book PREFACE “What do we want?,” shouts a male voice over the moving image of a group of lowland peasants heading a march. “The Constituent Assembly!,” chants the crowd. While a man waves a flag representing the state of Santa Cruz, two men and a woman carry a large sign that advocates for the Assembly. “When?,” the man shouts again. “Nooow!,” the multitude responds. The mass of people occupies a narrow downtown street in La Paz. Titles on the screen indicate that this scene was recorded in 2002, when the march organized by the Bolivian Indigenous Peoples’ Confederation (cidob, Confederación de Pueblos Indígenas de Bolivia) gained stronger attention to their claim for a national constituent assembly in Bolivia. The sequence cuts to another march image, from 2005, this time showing a multitude winding along a road surrounded by an ochre Andean landscape. These images constitute the initial sequence ofTodos en el camino (Everybody on the way, 2008), a film documenting the march that peasant, indigenous, miner, worker, and other social organizations made over the course of ten days to the city of La Paz in October 2008 to support the call for a referendum to approve the new constitutional text. This text resulted from the Constituent Assembly process developed from 2006 to 2008. The film was produced by indigenous media makers who took part in the nongovernmental National Plan of Indigenous Audiovisual Communication (Plan Nacional Indígena Originario de Comunicación Audiovisual), an initiative that has worked since 1997 with indigenous xi Buy the Book communities and with the peasant and indigenous confederations to produce and disseminate videos that build on their social and political realities.1 Like many other films produced by the Plan Nacional, this one presents the Constituent Assembly process as an unusual achievement of different sectors’ organizations in which indigenous and peasant struggles have played a key role. As in many other Plan Nacional films, strug- gle, enthusiasm, and unity seem to be motors of social transformation. Altogether, sound, interviews, and images in this film create a sense of coherence and unity, summarized for instance in the image of the crowd composed of heterogeneous groups marching on a single road, which is displayed as the prevailing metaphor of the moment, namely, the unique coalition of divergent social sectors for a common political goal. During my field research in Bolivia from 2005 to 2007, I witnessed on a daily basis some of the processes through which these kinds of images were crafted not just for producing films but also for advancing a com- monsensical idea about an unprecedented participation of indigenous people in national politics and about the presumed positive implications of a plurinational state. Simultaneously, I was able to track some of the tensions that lay behind these celebrated images of unity, for instance, during endless debates that indigenous and peasant unions undertook to write their proposal for the Constituent Assembly (Pacto de Unidad, 2006),2 or during the negotiations among indigenous media makers about how to fairly depict a gender, territorial, or justice conflict in their films. These tensions, which have become more evident after the initial effervescence around the electoral triumph of Morales, involve the fact that “indigeneity shift[ed] from being a language of opposition to the language of governance” (Canessa 2012, 32). Inspired by the dynamic relationship between films like the one just described and the political reality of Bolivia, this book analyzes indige- nous video production and circulation as one medium through which different indigenous sectors are currently articulating a national language of indigeneity (see Himpele 2008, xv). This study involves the challenge of recognizing how indigenous claims appeal to often contradictory notions of ethnicity, either as a historical legacy of oppression or as an issue of xii Preface Buy the Book cultural identity. Bearing this challenge in mind, I analyze the social and political contexts that underlie the production and circulation of indigenous films in Bolivia: Who produces them and why? Who are the intended audiences? What are the implications of labeling this kind of film production as indigenous? How do these images comment on, inform, or transform the reality in which they were produced? And how do they contribute to legitimizing or questioning a new state project that says it represents indigenous peoples’ interests? Early conversations with indigenous media makers and leaders who participated in this study affirmed an extraordinary sense of political possibility and hope. Most people with whom I spoke in Bolivia were convinced not only that important historical changes were taking place but also that they, by their daily actions, were key participants in building the political future of the nation. This book focuses on how indigenous media makers have taken part, with their own communicational work, in normalizing the idea of a stronger indigenous participation in national transformations. Although centered on indigenous media, my analysis builds on some of the consequences of normalizing this idea, namely, the ways in which specific claims about indigeneity acquire more relevance than others for the new government and therefore
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