Archive for the Peru Category

MARTIN CHAMBI, Indigenous Peruvian Photographer

Posted in Peru, Peru Art, Peru Treasures, photography on January 22, 2012 by Listen Recovery

Martín Chambi Jiménez or Martín Chambi de Coaza, (Puno, Perù – November 5, 1891 – Cuzco, September 13, 1973) was a photographer, originally from southern Peru.

For more than twenty years, Martín Chambi balanced his successful studio business with extensive travels outside of Cuzco to photograph archaeological sites, landscapes, and indigenous communities.
Chambi’s early reputation was based on his participation in two distinctly different photographic traditions. His adoption of conventions derived from European art photography, particularly the stylized effects of Pictorialism and natural sky-light in studio portraiture, formed the foundation for his studio’s commercial success and his prominence in local salon competitions and industrial fairs of the day.
Chambi quickly came to the forefront in the documentation of his own indigenous culture. He undoubtedly received significant support and encouragement in this work from members of Cuzco’s Indigenista movement. In turn, his work and presence, as an artist of direct Indian descent, photographing their meetings and listening to their discussions, surely reaffirmed their intellectual programs and lent a sense of visual authenticity to the movement.

Between 1920 and 1950 Chambi amassed a comprehensive collection of archaeological sites, native peoples, and views of Cuzco that was widely published as well as presented throughout South America.
Many of the most fascinating pictures in his archive were apparently unknown during his lifetime – some because they fell outside the interests of Indigenismo, others because of the limited artistic conventions then in vogue, and many because of their commercial origin.

Significant ongoing research and publication on this unusual period still need to be realized in order to clarify Chambi’s artistic contribution in the world of photography.

A BRIEF HISTORY OF A NEO-INDIGENOUS ARTIST
Chambi was an Indigenist photographer — the first to photograph his people as seen through their own eyes. Chambi himself emphasized that status in 1936, on the occasion of an exhibition in Santiago and Viña del Mar:

“I have read that in Chile it is thought that Indians have no culture, that they are uncivilized, that they are intellectually and artistically inferior when compared to whites and Europeans. More eloquent than my opinion, however, are graphic testimonies. It is my hope that impartial and objective witnesses will examine this evidence. I feel that I am a representative of my race; my people speak through my photographs.”

Martín Chambi

Martín Chambi was the first to photograph his race with a postcolonial eye. When Martín Chambi arrived in Cuzco, the ancient Incan capital, the richest and most splendid among American pre-Columbian cities, was experiencing a slight demographic recovery following the dramatic population decline.
It was Chambi who had the greatest international diffusion, and he who has left us the most personal, magical, profound, and dazzling work among all Peruvian photographers and maybe of all Latin American photographers.
Martín Chambi’s images laid bare the social complexity of the Andes. Those images place us in the heart of highland feudalism, in the haciendas of the large landholders, with their servants and concubines, in the colonial processions of contrite and drunken throngs. Chambi’s photographs capture it all: the weddings, fiestas, and first communions of the well-to-do; the drunkenness and poverty of the poor along with the public events shared by both. That is why, surely without intending it, Chambi became in effect the symbolic photographer of his race, transforming the telluric voice of Andean man, his millenary melancholy, his eternal neglect, his quintessentially Peruvian, human, Vallejo-like pain into the truly universal.

“One day Chambi will be recognized as one of the most coherent and profound creators photography has given this century.”

Edward Ranney

FANIA in LIMA, Perù. Interview by Renz de Madrugada, words by MIGUEL ANGEL MATHEUS (en Castellano)

Posted in Interviews, Peru on March 29, 2011 by Listen Recovery

1. ¿Cuentame como comenso tu dia antes de llegar al concierto de La FANIA en la Universidad de San Marcos?
Empece el dia dudando un poco de que si iban a venir en realidad los mounstros que se estaban anunciado, porque, quien sabe derrepente venian los nietos de ellos, jajajajaaj; pero con el transcurrir de las horas esas dudas empezaron a despejarse, puse un disco de la Fania en el equipo de sonido y me puse a escuchar y a cantar algunas canciones. Ya por la tarde me heche a descansar unas horitas para estar a punto para la noche. Me fui con miguelito, debes acordarte de el al que le dicen gaston acurio y con lali el hermano de omar.

2. Cual fue tu cancion favorita de la noche
Bueno en realidad todas las canciones estuvieron buenazas pero las que me gustaron fueron: No me digas que es muy tarde ya, cantada por el gran Ismael Miranda, el nino bonito de la salsa, Quitate la mascara de Adalberto Santiago y los entierros y el raton de Cheo Feliciano

3. Ubo algun artista homenajeado?
Si hubo homenaje a los artistas que ya se encuentran en el cielo como Celia Cruz, Pete el Conde Rodriguez, Rey Barreto el gran hector lavoe y otros que no recuerdo.

4. A que artista te hubiera gustado ver, que no pudo asistir?
Me hubiera gustado ver a Hector lavoe con la fania, pero bueno ya conocemos la historia.

5. Cuantas horas fue el concierto y a que hora termino?
El concierto pues habra durado 2 horas, termino pasadas la 1 de la madrugada, es que cuando estas bien concentrado, conectado uno se olvida de las horas.
Fue innolvidable esa noche, lastima que no hubo fotos pero el recuerdo queda pregnado.

GRAFICA PERUANA, Elliot Tupac. (video/subtitles/photography)

Posted in arte universal / universal art, Peru, Peru Art on March 7, 2011 by Listen Recovery

ELLIOT TUPAC, Perù Arte Grafico y Musical

Posted in arte universal / universal art, Peru on March 7, 2011 by Listen Recovery

Elliot Urcuhuaranga Cárdenas “ELLIOT TUPAC” diseñador y artista grafico de 32 años. De origen huancaíno crea y diseña desde los 12 años Lettering y Tipografías para Afiches Chicha; estos afiches que surgen en la década de los 80s dentro de un contexto social marcado por el fenómeno musical tropical andino o “chicha” con grupos importantes como los Shapis, Los Ovnis , Alegria, Vico y su grupo Karicia entre otros.

Desde el 2004 “ELLIOT TUPAC” reivindica el arte de los Afiches Chichas y empieza a alternar con artistas plásticos del Perú y de otras partes del mundo; realizo murales para la película de Claudia Llosa “Madeinusa” y la galardonada “La Teta Asustada”. Este Año 2010 inicio el año realizando el diseño e impresión de la portada de la prestigiosa revista inglesa Creative Review “. En Octubre realizo tres importantes actividades en Chile (workshop – charla – exposición) bajo el patrocinio de la Universidad Mayor de Chile, el suplemento “Somos” del diario el Comercio encargo el diseño e impresión de la portada. ..y así muchos diseños para revistas Chilenas y del mundo con su estilo singular enfocado en la temática Chicha y su obsesión en las Tipografías.

PEÑA II by Secret Stash Records (2011), words by Renz De Madrugada (Cardo o Ceniza mp3 download link)

Posted in Afro Sounds, Peru on February 26, 2011 by Listen Recovery

Peña I (2010) review by Renz De Madrugada

This is the 2nd part of a great experience from Eric Foss of Secret Stash Records last year in Perù.  Discovering new voices with a contemporary feel with traditional songs from the Peruvian genre of Criollo music, Afro Peruvian and Lando to name some.

Peña II starts with Cardo O Ceniza written by Perù’s own Chabuca Granda, the strong and at the same time soft voice of Sofia Rei (vocalist) gives the right touch to the beginning of a sequel experiment.  Continues with timeless track and heart pounding lyrics by Jose Escajadillo Jamas Impedirás which various important voices in Perù have interpreter decade after decade.  Lucha Reyes was one of the first ones to make her its own.  Eva Ayllon as well as song writer and singer Gian MarcoFina Estampa what Peruvian doesn’t know this song. Well at least the cultural ones and the patriotic ones, written by Chabuca Granda, this track is a must have for many Peruvian queens, it talks about a gentlemen.  Now El Condor Pasa is not your typical traditional song that you would hear at a Peña in Perù, nevertheless is an outstanding selection for this project.  It gives authenticity to the experience of music in Perù, this is another must have for any Peruvian nostalgic residents outside of Inca land.  Jose Antonio this one is another timeless song, it almost sounds like “Marinera” to me.  I love this version.  Good work guys!

El Tamalito, now this track is kinda dear to me, because who wrote it, Andres Soto, go Google the little bit there is online about him. He has contribute to many important songs and has also worked with Chabuca Granda, Caitro Soto, Pititi to name a few legends of the Afro Peruvian and Criollismo Sub-Culture in the coast.  Sofia Rei comes correct once again.  La flor de la canela another Chabuca song, to us Peruvians she was and is a poet in our hearts, white from the outside, Afro Peruvian from the inside, a madam of its own class Sr Granda was.  This song is also a MUST for any collection of Perù treasure songs.

El Plebeyo written by Felipe Pinglo Alva one of the most outstanding composers of the genre of criollo music, with more than 100 titles on his belt.

This is the last track on the album.  A nice ending to a soft and powerful compilation and interpretation of timeless songs.

Another great work by Secret Stash Records. Keeping up the Peruvian music culture worldwide.  Respects!

Renz De Madrugada, Feb 2011

Cardo O Ceniza (Song Link) free download by Secret Stash Records

FERNANDO BELAUNDE TERRY (PERU), Presidents day in America today; but we celebrate worldwide, one of Perù’s best presidents in history.

Posted in Peru, photography on February 22, 2011 by Listen Recovery

^Record acetate sheet with anthem of Accion Popular Party

LIMA Anniversary 476

Posted in Peru on January 18, 2011 by Listen Recovery

LIMA Flag

F*ckYeahPERU blog

Posted in new blog intro, Peru, photography on January 8, 2011 by Listen Recovery

http://fuckyeahperu.tumblr.com/

ERNESTO “CHE” GUEVARA 1st time in Lima. (info from La Pastera “Museo Del CHE”) blog links

Posted in Che Ernesto Guevara, Peru, Peru Treasures on December 11, 2010 by Listen Recovery

In Peru, Guevara was impressed by the old Inca civilization, forced to ride in trucks with Indians and animals after “The Mighty One” broke down. As a result he begins to develop a fraternity with the indigenous campesinos.

In March 1952 they both arrived at the Peruvian Tacna. After a discussion about the poverty in the region, Guevara refers in his notes to the words of Cuban poet José Marti: “I want to link my destiny to that of the poor of this world.” In May they arrived in Lima, Peru and during this time Guevara met doctor Hugo Pesce, a Peruvian scientist, director of the national leprosy program, and an important local Marxist. They discuss several nights until the early morning and years later Che identified these conversations as being very important for his evolution in attitude towards life and society.

Hugo Pesce (17 June 1900–26 July 1969) was a Peruvian physician and left-wing activist.

Pesce was born in Tarma, and studied medicine at the University of Genoa in Italy. He first practised in rural parts of the Peruvian Andes, where he was radicalised by his experiences of the debilitating effects of poverty.  He later specialised in treatment of leprosy.  He and other Latin Americans disagreed with the recommendations of the 1938 World Leprosy Congress in Cairo, and agreed a different process in Três Corações, which Pesce implemented successfully at Andahuaylas in 1938 and the Apurímac Region in 1940. The 1948 World Leprosy Congress in Havana endorsed the Latin-American strategy; Pesce was later a member of the World Health Organization’s expert committee on the disease.  In 1945 he joined the faculty of the National University of San Marcos, where he was professor of tropical medicine from 1953 till his retirement in 1967.  In 2002, Pesce was among four individuals and two groups named as “Heroes of public health in Peru”

“The character that wrote these notes died when he stepped on Argentine soil again, the one who orders and improves them, “me”, is not me; at least, not the same inner me. This wandering through our “Majuscule America” has changed me more than I had ever thought it would”.

Ernesto Guevara
“Entendámonos” from “Notas de viaje”

“To doctor Hugo Pesce, without knowing it perhaps, provoked a great change in my attitude towards life and society, with the same adventurous spirit as always, but channeled toward goals that are more harmonious with the needs of America. Fraternally.” Ernesto Guevara

In May, Guevara and Granado leave for the leper colony of San Pablo in the Peruvian Amazon Rainforest, arriving there in June. During his stay Guevara complains about the miserable way the people and sick of that region have to live. Guevara also swam once from the side of the Amazon River where the doctors stayed, to the other side of the river where the leper patients lived, a considerable distance of two and a half miles. He describes how there were no clothes, almost no food, and no medication. However, Guevara was moved by his time with the lepers, remarking that:

“All the love and caring just consist on coming to them without gloves and medical attire, shaking their hands as any other neighbor and sitting together for a chat about anything or playing football with them.” Ernesto Guevara

EL CHE Y LOS PERUANOS: HILDA GADEA<( link )

http://www.lapastera.org.ar/

MARIO VARGAS LLOSA first written novel 1963 “La ciudad y los perros” Peruvian Film 1985

Posted in Mario Vargas Llosa, movie (cultural) international, Peru on October 24, 2010 by Listen Recovery

1985 / Peru
Directed by Francisco J. Lombardi

132 min.
Actors:
Pablo Serra
Gustavo Bueno
Luis Alvarez
Juan Manuel Ochoa
Eduardo Adrianzén
Liliana  Navarro
Miguel Iza
Alberto Isola
Jorge Rodríguez Paz
Ramón García
Lourdes Mindreau
Aristóteles  Picho
Antonio Vega
Isabel Duval
Ricardo Mejía

LA CIUDAD Y LOS PERROS / “The City and the Dogs” is the first novel by Peruvian writer Mario Vargas Llosa, Nobel Prize in Literature 2010. It was published in 1962, winner of the Biblioteca Breve Prize and the Spanish Critics Prize. The author originally titled “The Amityville hero.” Its importance is crucial because it showed a series of modernity in Peruvian narrative. Along with other works of various authors from Latin America, launched the so-called “Latin American Boom.” He has had multiple editions and been translated into dozens of languages. 

Vargas Llosa criticizes the way of life and military culture where certain values are enhanced (aggressiveness, courage, manhood, sexuality, etc.) Mutilate the personal development of boys of the boarding school. With a profusion of characters, the lives of these will crisscrossing, to weave the tapestry of the work. The crux of the story is focused around the theft of exam questions, which is betrayed by a cadet nicknamed the Slave, who later died, presumably by another cadet called El Jaguar. Another cadet, the Poet, tried unsuccessfully to sue the Jaguar. All cadets face each other and all with the school authorities, who are both officers. The epilogue of the novel which has been certified by the school for the protagonists: a way station that has formed or deformed, to integrate them into civil society.

Plot
The book recounts the experiences of boarding students of the Colegio Militar Leoncio Prado especially Alberto Fernandez “the Poet”, The Jaguar, Ricardo Arana “Slave”, the mountain Cava, The Boa, Curly, Brigadier Arróspide and black Vallano, who are in their senior year, the first section, and are eager to leave once the hole where they are. Of these, the most timid is Ricardo Arana, so always humiliated by his peers, thus receiving the nickname “The Slave” is the only one who can not adapt and feel alien to the whole school despite live day and night with their peers in the classroom and in the barracks (dorms). 

Every day the students get up early to train and receive their classes. Lt. Gamboa directs the formation and punishes the last three in line. The lifestyle of the inmates is heavy and humiliating for some. The story goes back to long ago, when Alberto Fernandez and his colleagues just entering the school to enroll in the junior year, and receive “baptism” by the fourth graders, which also involved the fifth. This “baptism” was degrading to treat them as a “dog”, a name with which they were known to students in lower grades. The Jaguar is the only one they can not “baptized”, as opposed to violence and even the match ends in a student’s room. As the “baptism” lasted a month, the Jaguar and the pupils of the same section decided to form a “Circle”, to defend and avenge the fourth-year students. The “Circle” is discovered by Lieutenant Gamboa and the entire section is punished. However, the Jaguar maintains the group, but reduced his three closest friends: the peasant Cava, Curly and Boa. All of them, including “deeds” reselling stolen uniforms, organize the entry of liquor and prohibited material in the School (erotic magazines, cigarettes, etc.) Carried dice and cards, and plan the theft of the responses reviews, the novel begins precisely at the time of the theft made chemistry exam. But the mountain Cava, who is charged with this mission, you are not careful and break the glass of a window, so that the “Circle” are afraid of being discovered. However, confident that all are discreet and do not betray anything. But that night, The Slave and Alberto are of imaginary (guards per shift) and find out the robbery.

Alberto and the Slave begin to make friends and have their secrets. The slave wanted to leave the weekend to visit a girl named Teresa, his neighbor, which he loved, but which have not yet dared to propose. Albert, known as the Poet, was sought by the cadets to write love letters to the love and erotic novels, and slave asks him to type a few letters. During the chemistry exam, a rolled paper with survey responses fall into the folder Alberto, but Gamboa discovers and directs the responsible stand. The Slave Gamboa up pleading guilty and confined him not to leave the weekend. That same Saturday Alberto decides to take her out to go where the famous “Golden Feet,” a harlot of the shred Huatica in the district of La Victoria, at the same time offering to bring a letter from the Slave to Teresa, who lived in the district Lynx. Alberto invited to the cinema to Teresa, and begins to fall for her, even though deep down he feels bad for his friend so lacking. Back home in Miraflores, to spend the night, not wanting to go where the “Golden Feet.”

As was feared, they discover the theft of exam questions in chemistry, and Lt. Gamboa confined to students who were imagined that night, that is, The Slave and Alberto, preventing him out until they found the person responsible. The slave, who already had a string of confinement, not take any more punishment and instead of “shoot at” (sneaking out of school), rather betray the guilty, Cava, this is broken down and removed. This punishment was terrible because the expelled student and lost all the years I had attended.

The Jaguar and others swear Circle discover the snitch and a well deserved punishment. Meanwhile, the slave gets permission to leave the school that afternoon and thus be able to visit Teresa. Alberto is jealous, because it is also in love with Teresa and escape from the school to advance to the Slave. When he gets where he learns that Teresa had not yet visited the Slave. Albert took the opportunity to declare his love and Teresa belongs. The slave does not come to visit her parents because Teresa from leaving home.

The college life seems to follow their normal routine, but then a serious incident occurs. During an output target practice, to a field outside the school, Lieutenant Gamboa formations makes climbing a small rise of ground, but at the time of the maneuver, a student collapses to the ground. Was the slave, no one notices until moments later when he discovered badly injured. One bullet, apparently by accident, he had hit his head.

The slave is brought to the school clinic but died shortly afterwards. His funeral was held at the whole school. School officials explained that the cadet was a victim of its own error, to tangle with the trigger of his gun and fell to the floor, shooting, in fact hide the proven fact that the shot had come back. Suspect an error in the handling and responsibility to Gamboa and the other officers for not being careful, but to avoid a scandal, maintaining the official version of the cadet error.

The whole section is shocked by the incident. Alberto does not believe the official version of death and begins to suspect it was an act of revenge by the Circle, so the accusation against serrano Cava. The fact that Jaguar is immediately behind the Slave when maneuvering makes it more convincing in his suspicions. Tormented by the idea out of school and goes where Teresa, who has the sad event, it confused by such news, simply answer that Ricardo knew very little, although it was his neighbor, and tries to comfort Alberto, asking what else was concerned. Alberto bother with Teresa, believing indifferent to the death of his friend, and they end up fighting. Al final farewell to Teresa Albert, with the feeling that you no longer see her again.

Lieutenant Alberto Gamboa visit to his home and accused of the murder of Slave Jaguar. At the same time, reveals trafficking of liquor and cigarettes, dice games and the theft of uniforms that the Circle made secretly in the stables. Gamboa is taking the case to a real investigation and for now shut the Jaguar starts in a dungeon for Prevention, and conducts an inspection of the stables, which verifies the statement made by Albert, but as for the charge of murder, this does not succeed for lack of concrete evidence. Alberto insists his complaint, then the highest ranking officer, a colonel called his office and demands to stop insisting otherwise his version would be easily refuted, since the inspection in the barracks also brought to light their high demand “erotic novels” which show his great imagination and no reliability as a witness. It would also be expelled for sexual pervert and no school would receive. Alberto declines over time and does not insist in its complaint. At present it is confined in the jail where he was the Jaguar, waiting for the order of the Lieutenant to send it back to the barn. The Jaguar and Alberto discussed. At all times the Jaguar denies being the murderer of the Slave, Alberto, meanwhile, confesses that it was he who was charged with the lieutenant. Both cling to blows, taking the brunt Alberto. After passing through nursing, returning to the block.

The whole section, headed by Brigadier Arróspide, believes that Jaguar had ratted him liquor and cigarettes, and turn against them, several students around him and beat him brutally. However, the Jaguar reveals no Alberto as the real snitch, but he feels very bad to be treated well by their peers who had once taught to combat abuse of the elderly. For his part, Lt. Gamboa is disappointed in himself. The incident makes him fall into disgrace with his superiors, who decide to send to Juliaca. Before his departure, Jaguar delivers a letter, confessing that he killed the slave, believing that with this confession, the lieutenant would be rehabilitated, but he replied that it is too late because the Army had already decided that the death of Ricardo had was accidental and would not change one iota to avoid a scandal, the only thing Jaguar is asked to change and take something out of what happened.

Later, after leaving school, Alberto, who has already forgotten about Teresa, is preparing to go to the United States as the memories of Colegio Leoncio Prado are becoming more distant, impersonal. Meet a new member of his neighborhood, Marcela and falls for her. On the other hand, the Jaguar gets a job and meets his childhood sweetheart, Teresa (the same that was fleeting love slave and Alberto), whom he marries, thus changing the image that until then the reader Jaguar had made, making it a more complex character than expected. The uniqueness of the story is that throughout it is sandwiched Jaguar history before entering the Military Academy without mentioning his nickname, and only at the end of the story the reader little attentive to the details of the story he learns that it is the same.

Mario Vargas Llosa