The travels of two The travels of two Colombian theater groups Colombian theater groups from Colombia to Spain from Colombia to Spain

and backand backLuis GarzónLuis Garzón

Universidad Autonoma de BarcelonaUniversidad Autonoma de Barcelona““Art practices in the face of Art practices in the face of

constraints”constraints”THE ARTIST AND THE STONE, Hangar, THE ARTIST AND THE STONE, Hangar,

September 21September 21stst 2014 2014

The researchThe research Research on consequences of migration Research on consequences of migration and mobility on the artistic and mobility on the artistic trajectory of two theater groups.trajectory of two theater groups.

The aim was to examine the influence The aim was to examine the influence of migration in their artistic of migration in their artistic practice.practice.

The context: Colombia, a heavily The context: Colombia, a heavily fragmented and contested country in fragmented and contested country in Latin America, stricken by violence.Latin America, stricken by violence.

COLOMBIACOLOMBIAMain administrative divisionsMain administrative divisions

Colombian artColombian art Colombian art is marked by fragmentation Colombian art is marked by fragmentation and diversity, just as the country and and diversity, just as the country and its society.its society.

Since the murder of liberal politician Since the murder of liberal politician Jorge Elicer Gaitan in 1948, the country Jorge Elicer Gaitan in 1948, the country has been set by violence and hatred.has been set by violence and hatred.

Colombian theatre begins to adress Colombian theatre begins to adress violence, social exclusion and diversity violence, social exclusion and diversity in the 1960’s, upon the influence of in the 1960’s, upon the influence of Enrique Buenaventura. Enrique Buenaventura.

The groupsThe groups1.1. Alcaravan Teatro: Created in Alcaravan Teatro: Created in

1977. Cali (Departamento del 1977. Cali (Departamento del Valle). In 1979 quit Colombia Valle). In 1979 quit Colombia due to political persecution.due to political persecution.

2.2. Teatro Paloquesea: Created in Teatro Paloquesea: Created in 1986 in Pereira (Departamento 1986 in Pereira (Departamento de Risaralda). In 1989 quit de Risaralda). In 1989 quit Colombia, some members Colombia, some members established in Barcelona.established in Barcelona.

AlcaravanAlcaravan

Alcaravan TeatroAlcaravan Teatro Created in 1977 in the city of Cali Created in 1977 in the city of Cali (southern Colombia).(southern Colombia).

Influenced by Enrique Buenaventura.Influenced by Enrique Buenaventura. Main issues: popular neighborhoods Main issues: popular neighborhoods (barrios de invasion), poverty, (barrios de invasion), poverty, gender.gender.

Reason for leaving Colombia: Reason for leaving Colombia: Political persecution during Julio Political persecution during Julio Cesar Turbay (1978-1982) Cesar Turbay (1978-1982) Administration.Administration.

Alcaravan Teatro (II)Alcaravan Teatro (II) The “Estatuto de Seguridad” decreed The “Estatuto de Seguridad” decreed during Turbay’s administration during Turbay’s administration increased political repression increased political repression towards left-wing groups.towards left-wing groups.

Alcaravan was targeted due to their Alcaravan was targeted due to their work in popular neighborhoods.work in popular neighborhoods.

Alcaravan emphasizes culture and Alcaravan emphasizes culture and art as tools to raise awareness.art as tools to raise awareness.

Alcaravan teatro (III)Alcaravan teatro (III) Their first contact in Spain was Their first contact in Spain was the mayor of a small village in the mayor of a small village in Extremadura who invited members Extremadura who invited members of the group to perform there.of the group to perform there.

Since 1980, the group has been Since 1980, the group has been linked with Extremadura.linked with Extremadura.

Today the group carries out Today the group carries out artistic projects between Spain artistic projects between Spain and Europe.and Europe.

Alcaravan Teatro (IV)Alcaravan Teatro (IV) The experience of living in Madrid The experience of living in Madrid during the first years in Spain was during the first years in Spain was striking for members of Alcaravan, as striking for members of Alcaravan, as they contrasted the agresiveness of they contrasted the agresiveness of Spanish people with their amiability.Spanish people with their amiability.

Furthermore, Madrid at the time Furthermore, Madrid at the time (early 1980’s) was experiencing urban (early 1980’s) was experiencing urban decay and rise of criminality. Cali decay and rise of criminality. Cali also changed, for the worse, during also changed, for the worse, during those years. those years.

Alcaravan Teatro (V)Alcaravan Teatro (V) Back in Colombia, the group has Back in Colombia, the group has began to be recognized.began to be recognized.

““To do theatre you need a To do theatre you need a people”.people”.

They also emphasize that They also emphasize that through their work they have through their work they have been able to contribute to been able to contribute to social change.social change.

Teatro PaloqueseaTeatro Paloquesea

Teatro Palo q’seaTeatro Palo q’sea Created in the city of Pereira Created in the city of Pereira (Departamento de Risaralda) in (Departamento de Risaralda) in central Colombia in 1986.central Colombia in 1986.

In the mid-1980’s, drug cartels were In the mid-1980’s, drug cartels were at the height of their power in at the height of their power in Colombia. Pereira, due to its Colombia. Pereira, due to its central location, was a important central location, was a important stopover in the cocaine routes.stopover in the cocaine routes.

Pereira is also the main city of Pereira is also the main city of “Eje Cafetero” (Coffe Axis).“Eje Cafetero” (Coffe Axis).

Teatro Palo q’sea (II)Teatro Palo q’sea (II) In 1989, the group decided to “tour” In 1989, the group decided to “tour” Europe.Europe.

The group secured an invitation to The group secured an invitation to Spain through a group from the Basque Spain through a group from the Basque country, which helped them with the country, which helped them with the paperwork.paperwork.

They soon established in Barcelona, They soon established in Barcelona, specifically in the neighborhood of specifically in the neighborhood of Poble Nou, which at the time was Poble Nou, which at the time was experiencing deindustrialisation.experiencing deindustrialisation.

Teatro Palo q’sea (III)Teatro Palo q’sea (III) One of the main issues adressed One of the main issues adressed by Paloquesea was gender. The by Paloquesea was gender. The group organised a season of shows group organised a season of shows on the topic “Women on scene”.on the topic “Women on scene”.

One of the shows was dedicated to One of the shows was dedicated to Margarita Xirgu (1888-1969) a Margarita Xirgu (1888-1969) a catalan actress who went into catalan actress who went into exile in Latin America after the exile in Latin America after the Spanish Civil War.Spanish Civil War.

Teatro Paloquesea (IV)Teatro Paloquesea (IV) The group left Barcelona in 2004, The group left Barcelona in 2004, expelled due to the urban reform in expelled due to the urban reform in the Poble Nou area.the Poble Nou area.

They returned to Colombia and to They returned to Colombia and to Pereira. In the meantime, drug Pereira. In the meantime, drug violence in the city had diminished. violence in the city had diminished. However, new social problems had However, new social problems had emerged. There has been an increase emerged. There has been an increase in the number of displaced persons in the number of displaced persons arriving in the city. arriving in the city.

Teatro Paloqusea (V)Teatro Paloqusea (V) Paloquesea most recent project is Paloquesea most recent project is “contarla para vivir” (Explaining it for “contarla para vivir” (Explaining it for living).living).

The project involves theatre as a tool for The project involves theatre as a tool for social and economic production. They have social and economic production. They have created 4 small theatre groups out of kids created 4 small theatre groups out of kids from “barrios de invasion”. The groups from “barrios de invasion”. The groups are to stage plays on social issues: are to stage plays on social issues: exclusion, ethnic conflicts, gender exclusion, ethnic conflicts, gender violence. The project involves also a violence. The project involves also a group in Cali and a group in Medellin.group in Cali and a group in Medellin.

Some conclusionsSome conclusions In both cases, it was the In both cases, it was the violence and hardship in Colombia violence and hardship in Colombia the context that supposed a the context that supposed a constraint to the artist.constraint to the artist.

In both cases, migration to Spain In both cases, migration to Spain opened the possibility to surpass opened the possibility to surpass violence and later provided the violence and later provided the platform for developing platform for developing transnational artistic projects.transnational artistic projects.

Some conclusions (II)Some conclusions (II) Back in Colombia, in the Back in Colombia, in the beginning of the 21st century, beginning of the 21st century, Alcaravan and Paloquesea managed Alcaravan and Paloquesea managed to develop further their to develop further their artistic and social projects.artistic and social projects.

Their task opened new avenues Their task opened new avenues for Colombian art and for social for Colombian art and for social intervention of the urban space intervention of the urban space of the two cities.of the two cities.

Some imagesSome images

http://www.wat.tv/video/platino-teatro-5hnxr_2gepr_.html

Colombian AestethicsColombian Aestethics

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