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Luis Rico and the sea

Illimani is not what it was

confess to La Paz is always a traumatic experience. I depressed the city of El Alto, one of the ugliest in the world and down the urban agglomeration clinging to the hillsides, where the landscape is a city in ruins, like a half-long project, with the unfinished houses ( for not paying taxes)-each a monument to ugliness, the concrete beams and brick walls without reversing.

But then friends, cultural activities, discussions always passionate about local politics, and recognition of the spaces that somehow belong to me, often relieves the sensation of breathlessness that "the hollow" I produce. Previously, four decades ago, you could see the splendor of Illimani from anywhere in the city is quietly circulating through the streets and there was less trash and odors.

Among the activities this time I witnessed, at least one interesting every day, enjoyed the concert offered public my friend Luis Rico in the Plaza Abaroa, the district Sopocachi occasion of a new remembrance of the loss of Bolivian territory in the Pacific War (1879-1883), who described to date, the landlocked country. For younger people, or one that has no access to books, this educational and artistic overview of our history was very appropriate in circumstances in which diplomatic negotiations between Bolivia and Chile are a dead end.

Although the Bolivian government has put forward continuously and the demagogic way that "we are close to reaching an agreement," in particular there has not been absolutely no progress with the socialist government of Michelle Bachelet, let alone with Sebastian Piñeira. Chile is willing to cede any territory with Bolivian sovereignty. Perhaps this made recently President Evo Morales launched the awkward phrase "not on the sea, is the day from hell." Nothing unusual in it, which is the author of an extensive anecdotes Pachot.

Luis Rico and Alfonso Gumucio asylum in the Embassy of Mexico in 1980

Lucho With Rico have a friendship of those who are sealed in both social struggle and exile, as in creative work for culture, from popular music, and I from literature and cinema . Inmates were first and then exiled in Mexico, and our paths have crossed casually in other continents. So when I met him now and he invited me to his concert, I decided that I was going to lose.

experience was both artistic and educational for all who gathered at the Plaza Abaroa, because Lucho offered a long cantata with text by Eduardo Galeano and his own music, in which recounts the historical events that led to war between Chile, Bolivia and Peru, which ended with the victory of the former and English interests in the region.

Four days after the concert, on March 23, in the Plaza Abaroa, President Evo Morales surprised everyone with a speech that throws overboard the five years of "success" in negotiations with Chile . Read-this is unusual for him a text announcing that Bolivia rejects bilateral talks and instead will now submit its application in international courts. A notable change of direction, but no change helmsman ... After five years of deception and demagoguery, we are in square one. As we did not know at the outset.

Put aside the outbursts of the first Bolivian president to return to the concert. Galeano texts, adapted and recited with the powerful voice of Luis Rico, tell the story in a way that not only penetrates through the ears, but by the middle of the chest.

Beyond the patriotic speeches, the cantata highlights the responsibility of the military rulers, Melgarejo, among others, that led to Bolivia to disaster. Manipulations England to take over natural resources in what is now northern Chile are very similar to those now implement modern powers to seize the oil from Libya on the pretext of protecting the people of that country. The same cynicism of Europe and the United States to achieve its economic and political objectives.

undoubtedly more important than five years of speeches by Evo Morales are the words of Eduardo Galeano and the voice and music by Luis Rico, to remind us that culture is ultimately what unites us and what builds our identity.

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local Radio, the book

I was in La Paz does little to present the book to coordinate with Karina Herrera-Miller: "Policies and legislation for local radio in Latin America", published by Plural Editores , which brings in 474 pages twenty texts of the most distinguished authors on the subject, and other documents.

The presentation was sponsored by the Friedrich Ebert Stiftung (FES) , best known in Bolivia as ILDIS (Instituto Latinoamericano de Investigaciones Sociales). In addition to the opening words of the director of the FES, Kathrein Hoelscher, and the presentation of the book that made my colleague Karina Herrera-Miller, the event was attended by Erick Torrico Villanueva, Director of National Media Observatory (ONADEM) Vela and Andres Gomez, National Executive Director Radio Education in Bolivia (ERBOL) as speakers of the roundtable "Considerations for communication policy in Bolivia."

The book, which took two years to be published reflects the content of the papers presented and discussions held during the international seminar l " The local radio in Latin America: policies and legislation " with the same Karina Herrera-Miller, as well as Erick Torrico Villanueva, José Luis Aguirre and Cecilia Quiroga, organized in late 2008 with the aim of encouraging reflection and discussion on Latin American experiences.

Alfonso Gumucio, Karina Herrera, Edgar Davila, Kathrein Hoelscher, Erick Torres and Andrés Gómez

Both the seminar and for the book had the blessed with a select group of 15 international experts, including Rosa Maria Alfaro (Peru), Nestor Busso (Argentina), Gustavo Gomez (Uruguay), José Ignacio López Vigil (Ecuador), Aleida Calleja (Mexico), Jeanine El'Gazi (Colombia ), Omar Rincón (Colombia), Cicilia Peruzzo (Brazil), Oscar Perez (El Salvador), Carlos Cortes (Colombia), Carlos Rivadeneyra (Peru), Braulio Ribeiro (Brazil), Thomas Tufte (Denmark), Manuel Chaparro (Spain) , and Christoph Dietz (Germany), all with extensive experience and intellectual heritage.

They were joined by Bolivians Luis Ramiro Beltrán, Sandra Aliaga, Gastón Núñez, Carlos Arroyo, Andres Gomez, Carlos Soria Galvarro, Fernando Andrade, Guimer Zambrana, Ana Limachi, and a hundred representatives of local and community radios all over the country.

The book contains almost all the papers presented, now corrected and expanded. Self-excluded only the authors who did not respond to our call to send their texts, but we added a chapter on Carlos Camacho who could not attend the seminar.

Both the seminar, which I Referee timely a previous note , as the book, want to be a contribution to a discussion that seems to find many obstacles. Two years ago we launched into this adventure, we thought it would serve to stimulate debate on the need for legislation that would protect the local radio stations that serve their communities with content that promote issues of education, health, agriculture and development in general.

Our main objective was to promote the right to communicate with all people, not only freedom of expression to defend journalists and media owners information, self-appointed "intermediary" between citizens and political power.

Today, two years later, it seems that a thick glass separates aspirations they have much in common, since no one denies the need to strengthen human rights and in particular the right to communicate, but some think regulation is not the best way to do it.

Paradoxically, in the field who claim that "the best law is that there" are not only the owners of media, radio or television (who prefer to operate without accountability social), but the associations themselves, journalists, timid or caring for their jobs, defending employers' interests. This is de facto alliance other curious if we consider the countless studies and analysis show that commercial and private media, most do not contribute to education, culture or the development, but rather degrade their contents purely commercial vocation and his eagerness to profitability, the profession of journalists, and of course the imagination of the citizens who consume these products.

in the field who are better prepared to make proposals on policies and laws governing the field of communication and telecommunications, there are some important organizations such as UNITE and Network Foundation ERBOL (Radio Education in Bolivia), but struck by the timidity of the careers of university communication, and own Bolivian Association of Communication Researchers (ABOIC), the expectation remains no specific proposals and without jumping to the forefront of the discussion.

Within the state, which takes the initiatives to be taken by civil society, the contradictions are more acute, because the state officials strongly the Government of Evo Morales does not intend to propel an act of communication, a group of renowned specialists in the field develops proposals, more discreetly in the shadow of the Vice-Presidency.

So it is possible that the proposal for a government sector is very good, as that sheet is rejected by media owners, journalists' associations, and all opponents who do not need to know the details speak out against. In such an absurd degree of polarization we have, that any initiative from the state runs the risk of be a face against a cement wall, regardless of their content.

Undoubtedly

MAS government itself is responsible, as it promotes the disqualification of all opposition, not just right. The government vilifies those who were his allies on the left and all who would contribute to the process of change from a progressive perspective.

It would have been a process like that of Argentina, where civil society organizations undertook a hard work of reflection and discussion to reach consensus, then, the proposal Communication Services Act Audiovisual was debated and passed in parliament in that country, despite the furious attacks of certain groups of power that affected the economic and political interests had been able to strengthen the shadow of military dictatorships.

The book "Policies and legislation for local radio in Latin America" \u200b\u200bonly addresses the so-called "third sector", ie a part of which should cover a broad communications law, but it is a contribution and I would like to see soon other similar contributions relating to other sectors, not only in relation to public and private media, but with a comprehensive view of the right to communication.

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Vargas Llosa , actor Christopher

not include me in pathetic group who despise Mario Vargas Llosa for his political views and seek to reduce their stature as a writer. Vargas Llosa I consider a great novelist and essayist, and I enjoy reading books while I admire their discipline as a researcher and writer, it is serious about the craft of literature, and while I disagree with some of his political positions, the time itself is giving the reason for many of them continuously.

some clueless Tantrums Vargas Llosa made on are similar to those discharged on Octavio Paz and Jorge Luis Borges, whose work and name of course survive in the memory of much more than the work and name of their mediocre opponents. Political commissars like these have been in all ages, and fortunately disappear in the litter.

In recent days, an official, I think director of the National Library of Argentina, whose name had not heard before or remember now (nor do I care to remember), wrote a letter asking virulent Vargas Cristina Kirchner Llosa was vetoed at the Book Fair to open in Buenos Aires in April. The President sent him a walk, as intended. The worst that could happen to the culture is that the censors go with your taste.

This comes about because I had the opportunity to attend in Mexico a couple of acts restricted where Vargas Llosa was the protagonist. I was in the beautiful fortress of Chapultepec when President Felipe Calderon was awarded the Aztec Eagle award, the highest distinction that may deserve a foreigner, and the next day, Saturday March 5, due to my condition Contributor of the DPA (German Press Agency), I attended the first of two exclusive performances adaptation of the "Thousand and One Nights" in the newly renovated imposing Palacio de Bellas Artes, in the presence, again, the Calderon.

The novelty of this work, as opposed to "the bottom of the Thames" I saw and told exactly two years ago when I attended the trial in Lima, is that Vargas Llosa himself performing acts Sahrigar the legendary king.

passions include recurrent Nobel Prize in Literature 2010, at least two stand out: the theater and eroticism. From "Pantoja and the Special" to "Mischief of the bad girl", from "In Praise of the Stepmother" and "The Notebooks of Don Rigoberto", eroticism and sexuality are a leit-motif in the Peruvian writer's work and show the author's inclination a world of eroticism and sexuality where the transgression is central.

episodes Vargas Llosa chose to adapt "The Thousand Nights and a Night", originally released in Spain in July 2008, are not the best known literary classic East but are those that have more to do with one's own passions of the writer.

Through the characters represented by Vargas Llosa himself and Vanessa Saba, the only actors with dialogue in the play, describes not only the relations of infidelity that are the source of the stories of King Sahrigar and the beautiful Scheherazade, but other transgressions and sexual pranks are part of the writer's imagination.

relationships between children and mothers, changes in sexual identity, clandestine love affairs, and that continued close vicinity between love and death, eros and thanatos (which are two sides of the same coin) closer to the viewer to that territory where everything is possible shade without necessarily having the good conscience shocking.

When Scheherazade managed to keep awake until dawn, the king's interest Sahrigar, night after night for a thousand nights and one night, not only manages to save his neck from the relentless scimitar has beheaded many before it, but also manages to wake the sleeping King eroticism and spectators of the play, and stimulate their imagination.

For indeed what it is through this endless story-telling, is to awaken the fire twice desire for eroticism and fantasy. And that is precisely what Vargas Llosa claimed as the essence of literature: having to live-and-stories that stimulate the senses of the reader or viewer, and to stimulate their sensual beauty that is life.

Although Vargas Llosa himself says his adaptation of the play is "minimalist", the assembly stage director Luis Llosa, his cousin, it is rather lush, with beautiful choreography of belly dancers, a horizon with suggestive and poetic film projections, lighting effects that make the transitions of the day and night, oriental music played on the scene, and some strange characters that appear occasionally.

The weight of staging lies in the performances of Vanessa Saba and Vargas Llosa, the first known for his versatility with every change of character, with only two steps in another direction, takes another voice, one position and a different attitude. Can not say the same for Vargas Llosa, although it does assume different characters in all cases without attempting to differentiate. Their interpretation is as close to minimalism.

Vargas Llosa says that this book narrates the evolution of a being brutal in a human being through "the intelligence and narrative skill" Scheherazade. More than that: love and sensuality rescue humans. Front "fire of love, science is useless," said the astrologer, narrated one of the characters, and we could paraphrase the statement to say to the world of literary creativity, rationality is useless. The literature of the imagination and dream world of mischief and fun, are a force to which it is better to give up and enjoy.

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BOOK - The magic of soccer training: between competition and education

This time, the entry is intended to announce the upcoming release of the book I've written, which is behind the scenes. It is a vision, reflection and practice on the training than training, which I hope will be accepted and useful for all coaches, not coaches.

The prologue of the same, has made Jose Mari Amorrortu, very knowledgeable and professional methodology in the futbol base, which from here, I appreciate your cooperation infinite.

Something moves in the world of football, a gentle rain is beginning to sink in around the training methods of young players and every time I see more initiatives and technicians are encouraged to reflect this new paradigm in reading materials and space for reflection.

is not so much what is written but the why of what points we are works designed to make people understand that the principles of the game are ahead of the exercises, which in essence is the key to learning progression of training systems of young people in their football development.

addition, elaborate on the idea that soccer is not advanced by way of results, but by the ability of learning and knowledge generation of technical trainers, really responsible for the development to which I am referring. Success is not synonymous with winning, is to learn, create and get knowledge and that we must be brave and determined.

is why I have only words of appreciation for those who dare to write a book about football as it presents Jon, a text at the forefront of the issues discussed today and of which there is immense scope to draw conclusions.

is a work with a practical orientation to cover the demands we face every day with young people to provide training according to the demands of football and they have to respond to situations that the game will proposed from the knowledge and understanding of the principles.

Additionally, talks of values, of the individual, surpassing the stages you go through each day and giving importance to this day by day and event priority to the concept of training. Educate, train, train, is the same as putting a boat motor, are Gabriel Celaya word taken from one of her poems that they can enlighten us and give us light to improve and plan for our players and football world these and other ideas.

Jon Congratulations for your courage and then the content we offer, we will help you get frequent small gains in the exciting task of improving football and its environment is a challenge worth .

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greetings

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Photography is the art of representing reality in pictures and many believe that it is only to reproduce. Before the existence of photography, painting fulfilled that function: to represent reality, not just copy it. The creativity of painters, even those who were realistic painting, allowing capture different views on these topics: landscape, still life, portrait. Not in vain every realist painter had his trademark, is not the same Manet to Degas, Courbet that Corot.

Technology has advanced so far and so fast in recent decades, and its accessibility has expanded so much that now anyone who has a sophisticated camera, it is considered a photographer. And yet, among the millions of snapshots that are triggered each time in the world, are still very few, a very small percentage, those designed to transcend artistic expression.

is a truism Quevedo would say were he alive today, the camera does the photographer. The photograph is a work of light and composition, and technology alone can not do anything if not for the photographer's eye. And by "eye" of course understand what is behind the experience, sensitivity and artistic creativity and the ability to see reality as something that has many dimensions and depth to the naked eye can not see.

foregoing is to speak of Christopher Corral, "Freckles" Ecuadorian photographer who met again after several decades. We met in Ecuador in 1975 while shooting the film "Out of Here" by Jorge Sanjines, where I worked as assistant director, and we met again 35 years later through our mutual friend and filmmaker Alejandro Adoum Pocho Alvarez. With these three, united by an all-weather friendship, I was again in Quito in late February.

The Freckles gave me his book "Ecuador, the sun's path," a beautiful book with texts by Pocho Alvarez, through whose pages both make a tour of the country that both want and know. Pocho texts not only provide information about each photograph, but also show a huge knowledge of and respect for the cultures and traditions, the nature and threats posed to her by men and women, always named and identified, making what is now Ecuador.

Cristobal Corral fed photography since childhood and still remembers the laboratory magic of his father settled in the house and visits to the doctor's Central Pharmacy Sojos in Cuenca, where he acquired the chemicals and reagents for developing and fixing the negatives in black and white. Freckles Since then lived with photography and film, and his career went into documentary photography, which is more closely linked to memory and reality.

The Corral Christopher aesthetic look is complemented by the ethical view of the photographer, because photography is not simply push a button but committed with impunity with reality. photographer discovers not only diversity but assumes a role as intermediary between people, from the reality of each person.

Esteban Michelena Well said in the foreword of the book, when he says that the photos while Corral cause feelings of "joy and overflowing joy at seeing the tenderness, vitality, innocence, tenacity and other worthy materials with which, day by day, the country of our people will be doing, weaves, inventing and building "but also the sadness of uncertainty, because" there's certainly going to survive until that country's lively, full of life, bathed in light colors and blessed. "

The 115 photographs in the book are the synthesis of a long journey of Christopher Corral, whose versatility allows you to shoot equally landscapes, nature, people, festivals, crafts and indigenous populations.

Hence the importance of the photographer's eye, the eye is the window of sensitivity, culture, memory.

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eye CIESPAL

I was in Quito in late February to participate in the Round Table on Communication for Development, organized by the International Center Communication Studies for Latin America (CIESPAL) and Unesco .

Back CIESPAL in this new phase of the institution, under the leadership of Fernando Checa, was very pleased because we can not forget that CIESPAL was for decades the home of communication of all Latin Americans interested in the topic . The 1970 and 1980 allowed symbolic results, both in the training area (Through an important alliance with RNTC) and in the research and publications, including Chasqui magazine and book series that inspired new generations of journalists.

But above all, that high cement fungus where CIESPAL on Avenida Diego de Almagro Quito, was the great meeting place of many specialists in development communication, a communication rights perspective , of which Latin America has been a pioneer.

A second reason to feel "at home" during the event was sponsored by Unesco, the lead agency communication in the United Nations system, undoubtedly the only over its history has taken seriously the communication, therefore, that in the early 1980's strategic positioning in favor of a New World Information and Communication (NWICO), led to the departure of the United States and England in the organization.

My presence in Quito had to do precisely with a job analysis of the role of communication for development in the field of organizations in the United Nations system in Ecuador. Unesco has carried out such studies in several countries (I drove another similar exercise in Uruguay in late 2010), as a contribution to the preparatory process of the 12th Round Table on Communication for Development to be held in India in November 2011.

addition to my study, and Unesco CIESPAL commissioned two more Ecuadorian specialists. Elianor Franco took to analyze the world of NGOs from the perspective of development communication, as did Ruben Bravo with state institutions.

Our findings, and also those who commented on our presentation (José Ignacio López Vigil, Marco Encalada and Francisco Ordóñez, respectively) are similar, with some honorable exceptions, communication for development is not on the agenda or the State, or nongovernmental organizations, or most agencies of the United Nations.

In general, these three sectors develop policies, strategies and specific actions that fall within the concept of communication for development, in contrast, show an inclination to promote the dissemination of information and institutional visibility.

Yet many policy and strategy documents as Ecuadorian State and the United Nations system, dealing with stress the importance of social participation in development processes, from a rights perspective. Ecuador's new constitution provides, for example, important considerations about the "good life" or sumak kawsay , which unfortunately did not translate into political participation in the communication for development would have a central role.

CIESPAL In the same open to the public this time, I had to offer conference on communication for social change that was broadcast live via the website CIESPAL .

remains to be done (not only in Ecuador) to change the perception that the communication is as well as the dissemination of information or even worse, a mere activity of visibility and institutional positioning. That I spoke at a meeting Carlos Rabascall CN Plus me.