Recording a fusion version of "Los Caminos de la Vida" in Gamma Studios, Chorrillos, Peru. Oscar Geles composed the song with a Colombian Ballenato-Cumbia style in 1992. The lyrics are a litany of sad stories and poverty and how her mother saved the family. The metaphor he used is that while doing his "walks of life "he found them hard but necessary.
La lirica de Los Caminos de la Vida es una "oda al sacrificio de una madre."
#Los Caminos de la Vida. #oscargeles1992. Ballenato Cumbia Colombiana. #jesusvillegas #gammaproductions #limaperu #incaspirit #recording #Chorrillos #diablitosballenato
Lyrics:
Los caminos de la vida
No son como yo pensaba
Como los imaginaba
No son como yo creía
Los caminos de la vida
Son muy difícil de andarlos
Difícil de caminarlos
Y no encuentro la salida
Yo pensaba que la vida era distinta
Cuando estaba pequeñito yo creía
Que las cosas eran fácil como ayer
Que mi viejecita buena se esmeraba
Por darme todo lo que necesitaba
Y hoy me doy cuenta que tan fácil no es
Porque mi viejita ya está cansada
De trabajar pa' mi hermano y pa' mí
Y ahora con gusto me toca ayudarla
Y por mi vieja lucharé hasta el fin
Por ella lucharé hasta que me muera
Y por ella no me quiero morir
Tampoco que se me muera mi vieja
Pero, qué va, si el destino es así
Los caminos de la vida
No son como yo pensaba
Como los imaginaba
No son como yo creía
Los caminos de la vida
Son muy difícil de andarlos
Difícil de caminarlos
Yo no encuentro la salida
Henry Campos Perez records the conga to add a new track to "Los Caminos de la Vida." March 24, 2023
Jesus Villegas from Gamma Productions studios records Henry Campos Perez and bounces a new mix of the song.
Missing now the recording of the lead guitar. It will be recorded by Tony Aguirre, from Blue Man.
Arts of the Contact Zone
Mary Louise Pratt
https://gato-docs.its.txst.edu/jcr:c0d3cfcd-961c-4c96-b759-93007e68e1f0/Arts%20of%20the%20Contact%20Zone.pdf
In "Arts of the Contact Zone, Pratt describes a manuscript from 1613 penned by Andean man named Felipe Guaman Poma de Ayala. The manuscript was a letter written to King Phillip III of Spain and was titled The First New Chronicle and Good Government. The manuscript details Spanish conquest in South America. Pratt cites the manuscript as an example of autoethnography. She writes, “Guaman Poma’s New Chronicle is an instance of what I have proposed to call an authethnographic text, by which I mean a text in which people undertake to describe themselves in ways that engage with representations others have made of them”. The New Chronicle ends with a revisionist account of the Spanish conquest. Pratt uses the manuscript as an example of an oppressed person or group resisting hegemony, and she connects the practice of authoethnography, critique and resistance to the creation of contact zones.
Guaman Poma : Writing and Resistance in Colonial Peru: Second Edition.
Rolena Adorno
In the midst of native people's discontent following Spanish conquest, a native Andean born after the fall of the Incas took up the pen to protest Spanish rule. Felipe Guaman Poma de Ayala wrote his Nueva corónica y buen gobierno to inform Philip III of Spain about the evils of colonialism and the need for governmental and societal reform. By examining Guaman Poma's verbal and visual engagement with the institutions of Western art and culture, Rolena Adorno shows how he performed a comprehensive critique of the colonialist discourse of religion, political theory, and history. She argues that Guaman Poma's work chronicles the emergence of a uniquely Latin American voice, characterized by the articulation of literary art and politics. Following the initial appearance of Guaman Poma: Writing and Resistance in Colonial Peru, the 1990s witnessed the creation of a range of new studies that underscore the key role of the Nueva corónica y buen gobierno in facilitating our understanding of the Andean and Spanish colonial pasts. At the same time, the documentary record testifying to Guaman Poma's life and work has expanded dramatically, thanks to the publication of long-known but previously inaccessible drawings and documents. In a new, lengthy introduction to this second edition, Adorno shows how recent scholarship from a variety of disciplinary perspectives sheds new light on Guaman Poma and his work, and she offers an important new assessment of his biography in relation to the creation of the Nueva corónica y buen gobierno.
University of Texas Press
Javier Silva Meinel. Padre e hijo, Chumbivilcas, Cusco.
LUM. Museo del Lugar de la Memoria, la Tolerancia y la Inclusión Social. Miraflores, Lima, Peru.
#HoldenLuntzGallery #Guggenheim #LUM #JavierSilvaMeinel #LimaPeru
#ThrockmortonFineArt #postmodern
Javier Silva-Meinel's work is about the indigenous populations of Peru’s Andean and Amazon regions. And ethnographic work of the religious and mystical aspects of their lives. He composes his works using separate panels or cloth to create a second reality among his subjects. In the 70's he founded Secuencia Fotogaleria. And he received a Guggenheim Fellowship in 1990.
Formado como fotógrafo en la década de 1970, Javier Silva Meinel ha construido una vasta obra en la que se funden lo subjetivo y lo documental; la figura humana y el paisaje; con lo cual crea una nueva realidad que sorprende y que invita no tanto a la contemplación de una imagen, sino sobre todo a la reflexión. En este objetivo cobra importancia su apuesta por el blanco y negro y su decisión de componer sus imágenes a partir de elementos mínimos, como telones o paneles. Su obra es, en ese sentido, heredera de esa fotografía ambulante, dispuesta a captar personajes y entornos.
El Comercio, Lima, Peru
Meinel son los pueblos indígenas peruanos; las costumbres, comportamientos y sus características, pero su intención y resultado trascienden lo documental. En el fotolibro que le dedica la editorial La Fábrica, Guillermo Niño de Guzmán destaca en el prólogo los elementos mágico-poéticos y los recursos «artificiosos» de luz, como el flash de relleno, que contribuyen a «desrealizar» la escena y privilegiar la dimensión sincrónica.
LINA DE LIMA. Director. Paz Maria Gonzalez
Screening at LUM. Lugar de la Memoria, la Tolerancia y la Inclusión Social. Miraflores, Lima, Peru
Lina (Magaly Solier), travels from Peru to work as a housekeeper maid in Chile. As she prepares for her annual Christmas trip to see her teenage son, she realizes that he no longer needs her like he used to.
Lina from Lima review – funny, sultry film about a plucky economic migrant
Upending arthouse tropes with musical numbers and lashings of sex, this witty debut about a Peruvian domestic worker refuses to see its heroine as a victim
Writer-director María Paz González’s first feature takes a well-worn miserabilist trope out of the arthouse drawer – a domestic worker struggles with homesickness and faces economic inequality – and upcycles it with warmth and wit to make something quite original. It’s even funny and upbeat in its final lap. It’s something of a shock, since so many films about hard-up migrant women who go in search of better lives abroad end up with their protagonists grieving, dead or punished in some other way.
It’s hard to imagine Lina (Magaly Solier) would ever let anything like poverty or despair cramp her natural style. Plucky, hard-working and sexy AF, she’s sometimes down but never out. Originally from Peru, where she has left a fast growing-up son with her mother and ex-husband, Lina lives in Santiago, Chile, where she works for a wealthy family, mostly looking after teenage Clara while Clara’s dad is away, as he always is, on business. The two of them have a giggly, conspiratorial bond, more like cousins than employer and employee. When she’s not with Clara, lonely Lina enjoys quick and dirty hook-ups with an assortment of men, as well as daydreaming that she is the star of movie-musical sequences. González films these with aplomb, spoofing Esther Williams one minute, dressing up Lina as a chorus line Virgin Mary the next. Solier, meanwhile, busts out a lovely, expressive singing voice.
In contrast, just to cool the sultry summer hotness with some high cinematic sangfroid, there are lots of shots through windows, observing the action from a distance as the sound of sprinklers clicks away in the background. But González gets the tonal mix about right and this film suggests she’ll be a name to watch out for in the future.
The use of the virgin icon appears with Lina's dreams and vivid visions. The Virgin icon from colonialism and Jesuit churches paintings is revived by Lina's performance.
Conversatorio después de la pelicula.
By Nelson Maldonado-Torre.
Nómadas.
Universidad Central. Colombia
Walter Mignolo, is an Argentinean philosopher who has written many books about decolonization, Puerto Rican philosopher Nelson Maldonado interviews Mignolo's early origins in Cordoba, Argentina and his studies in France. His love for Cadmus and Kafka and later all the post-structuralists,
Novela Gráficas en Español en Lima, Peru.
Katarzys es un lugar secreto en San Bartolomé de Indias, la protagonista busca respuestas acerca del suicidio de su hermana mayor.
Gonzalo S. Macalopú Chiu (zomakorva).
Arquitecto en la Pontificia Universidad Católica del Perú, Autor de "Relación de Antigüedades deste Reino del Perú de Juan Santa Cruz Pachacuti."
Paying the Land By Joe Sacco.. Graphic Novel published in Spanish. Tributo a la Tierra
Eida Edemarian
The Guardian
https://www.theguardian.com/books/2020/jul/02/paying-the-land-by-joe-sacco-review-
The question that drives Paying the Land is: what do you do? How do you break the dependencies – on oil and natural gas (the ninth largest reserves in the world), on alcohol, on welfare, on an external definition of who you are? Straight compensation and apology is a minimum, and a truth and reconciliation process admitted cultural genocide in 2015, but an influx of cash can be a death sentence to a serious alcoholic. And how do you deal with inevitable change? Nostalgia is no answer; “People have to eat. They need roads and schools,” as one chief, who would dearly like to return his people to subsistence on the land, eventually has to admit. The eternal question about climate change and “progress” applies here too – what is the moral position of denying people things you have already enjoyed yourself, in order to fix the damage that was no fault of theirs? Again and again Sacco finds that “it’s more complicated than that”.
View from above the Costa Verde line and the Pacific Ocean in Lima, Peru. Recorded late afternoon in the Miraflores neighborhood. Across the street there is a Sunday fair in the Larcomar Mall.
Street musicians begging for change in the streets of Lince, San Isidro districts, Lima, Peru. The melody is a "Marinera" a folk 1800's song created after the war with Chile. Happy, folk dancing songs.
Risso Market, Lima, Peru. A typical Sunday afternoon everyone buying food, meat, fish, fruit and cereals for lunch.. There is a ritual to pray for "El Señor de los Milagros" The lord of the miracles. This altar haas also candles as the catholic churches have and people leave change and light up a candle after praying and asking for favors.
Blind singer in the street begging for money. The melody is an old waltz, romantic love story.
CASA DEL LIBRO
MIERDA Y CATASTROFE: SINDROMES CULTURALES DEL ARTE CONTEMPORANEO
FORCOLA - 9788415174912
Resumen de MIERDA Y CATASTROFE: SINDROMES CULTURALES DEL ARTE CONTEMPORANEO
En Mierda y catástrofe, de forma deliberadamente fragmentaria, el filósofo y crítico Fernando Castro Flórez plantea reflexiones de urgencia sobre los paisajes violentos y accidentales que se nos administran cotidianamente. Del freakismo a la atracción hipnótica del vacío; de la cultura digital y la adicción a los videojuegos al análisis del aeropuerto como no-lugar por excelencia; de los performances extremos a la retórica del archivo; del Arte Povera al Land Art, se va trazando un panorama que es, al mismo tiempo, desolador y excitante, empantanado y provocador, para con todo reivindicar el paseo como generador de experiencia, como si hubiera todavía posibilidades para gozar del arte de perderse. En una época de aparente «estetización», cuando la cultura del simulacro parece que ha pactado con la banalidad del reality show, hay que intentar trazar cartografías (así en plural) de lo que nos pasa, aunque sea únicamente para evitar la desaparición de lo poco que queda del pensamiento crítico. No basta con la «indignación» frente a lo que da la impresión de ser un fraude, ni podemos contentarnos con repetir hasta la saciedad del cuento de El traje nuevo del emperador. La deriva escatológica del arte contemporáneo, en algunos casos con una obsesión por presentar literalmente lo repugnante, no supone que la única reacción posible sea el asco. Ni siquiera la «catástrofe» cierra el drama y la comedia de nuestro tiempo desquiciado.En Mierda y catástrofe, de forma deliberadamente fragmentaria, el filósofo y crítico Fernando Castro Flórez plantea reflexiones de urgencia sobre los paisajes violentos y accidentales que se nos administran cotidianamente. Del freakismo a la atracción hipnótica del vacío; de la cultura digital y la adicción a los videojuegos al análisis del aeropuerto como no-lugar por excelencia; de los performances extremos a la retórica del archivo; del Arte Povera al Land Art, se va trazando un panorama que es, al mismo tiempo, desolador y excitante, empantanado y provocador, para con todo reivindicar el paseo como generador de experiencia, como si hubiera todavía posibilidades para gozar del arte de perderse.Mierda y catástrofe intenta ofrecer una serie de claves o, mejor, una sintomatología provisional para conocer nuestras limitaciones (ese singular modo de instalarnos en el búnker), pero acaso sugiere que hay alguna mínima grieta que permita, más que camuflarse, realizar el truco mágico del escapista.
EL SENTIDO DEL ORDEN: ESTUDIO SOBRE LA PSICOLOGIA DE LAS ARTES DE CORATIVAS.
E.H. Gombrich. Phaidon
Sinopsis
Una lección magistral del papel de la decoración en la vida y el arte, a la que el propio autor consideraba su obra más original. Ofrece un estudio exhaustivo de la historia y la teoría de las artes decorativas. Analiza el impulso humano universal de buscar orden y ritmo en el espacio y el tiempo, como demuestran los juegos infantiles o disciplinas como la poesía, la danza, la música y la arquitectura, así como las bellas artes. Postula una explicación sobre del impulso de poner orden basándose en la herencia biológica de la especie humana.
Alibrate.com