September Latin Festival Magazine 2016 September Latin Festival Inc. Incorporate Number: A 0094247L PRESIDENT Dr Juan Romero VICE PRESIDENT Teo Suárez SECRETARY Marta Torres VICE SECRETARY Gladys Díaz TREASURER Grace Falcon VICE TREASURER Helen de la Plaza September Latin Festival Inc PO Box 5044 Brandon Park, Vic 3150 Ph: +61 412 171816 - +61 3 8521 3431 www.septemberlatinfestival.com.au
SLF Staff
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Editorial & Greetings
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‘Mapuche’ Music
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Farewell from Miguel Santana
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Alex González’s Tribute
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Hispanic School
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Created by the Hands of an Artist
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Peruvian Cuisine
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From Viña to SLF
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On stage: Don Fulano & DJ A-Gee
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On stage: Ole Ola
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EVENT MANAGER Juan Romero
On Stage: Quarter Street
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On stage: Comparsa Urumbe
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STALL MANAGER Teo Suárez
SLF Stage
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STAGE MANAGER Oscar Zúniga
On stage: San Lazaro
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On stage: Mexbourne & Sarah Louis
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On stage: Sin Frontera & Bataola
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On stage: Inka Marka & Hasta la Cumbia
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On stage: Cumbiathon
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Thirty Years of Bahia
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Toonworld
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Medellin Flower Festival
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Tale from Mesoamerica
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The Charruas
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Abancay Camp
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Carnival Roots
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‘Hogar de Cristo’
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Spanish Window
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MARKETING Teo Suárez Reinaldo Pincheira PUBLICITY Helen de la Plaza Jenifer Garavito Javier Galleguillos PHOTOGRAPHY ‘Cacho’ Mendoza SLF MAGAZINE 2016 - STAFF Editor: Marta Torres Translator: Gladys Díaz Graphic Design: Carolina García CONTRIBUTORS Nepo González, Javier Silva Zurita, Meyi Cuellar, Jairo Darío Vanegas, Claudio Gómez, Mike Wheeler, Oscar Zúñiga, Miguel Santana, Juan Romero, Ángela Barra, Sandra Molina, Lucy Salinas Marketing: Teo Suárez Printing: Printgraphics Publisher: September Latin Festival
Disclaimer The content of the articles submitted to the September Latin Festival Magazine is the sole responsibility of each author. The views and opinions expressed in the articles do not necessarily reflects the mission, vision and values of September Latin Festival.
Editorial
A message from: GABRIEL JARA MALDONADO Cónsul General de Chile en Melbourne
THE PASSING OF THE BATON... It was quite a few years ago that an amazing group called “Fonda la Clínica” got together and created a special event that today we call “September Latin Festival”... Its aim to promote our rich Latin culture.... The time has come that a new group carries this project forward and it has fallen on our shoulders to continue the task. Alex Gonzalez was our leader and remains our force and inspiration. With great support and guidance from the previous Committee “Fonda la Clínica” we have delivered and are proud to say the September Latin Festival continues to get stronger. We will have Art, Cooking, Children’s educational activities and Social Services support added to what will be an unforgettable program. Let me invite you to be part of this and grow together, and all of us prepare the next generation to carry the original baton, for our race can never end. Your President, Dr Juan C. Romero President SLF
LA ENTREGA DE LA BATUTA… Fue hace unos cuantos años que un grupo increíble llamado “Fonda La Clínica” se reunió para crear un evento especial que hoy llamamos “September Latin Festival”... su objetivo, promover nuestra riqueza cultural latina.... Ha llegado el momento en que un nuevo grupo se encargará de llevar adelante este proyecto y ha caído sobre nuestros hombros la responsabilidad de continuar con esta tarea. Alex González fue nuestro líder y continúa siendo nuestra fuerza e inspiración. Con el gran apoyo y la orientación del comité anterior “Fonda La Clínica” hemos cumplido y estamos orgullosos de decir que el September Latin Festival continúa creciendo cada vez más fuerte. Les brindaremos exposiciones de arte, demostraciones de cocina, actividades educativas para los niños e información sobre los servicios sociales de apoyo, junto a lo que será un programa inolvidable. Los invito a ser parte de esto y a crecer juntos para que unidos preparemos a la próxima generación para llevar la batuta original, ya que nuestra carrera no debe terminar jamás. Su presidente, Dr Juan C. Romero Presidente SLF 4
La conmemoración del dúo centésimo sexto aniversario de la declaración de Independencia de la República de Chile el 18 de septiembre próximo, es siempre una ocasión propicia para hacer llegar a todos los compatriotas residentes en el estado de Victoria y particularmente en la ciudad de Melbourne, un muy cordial saludo. Al mismo tiempo, es una circunstancia que invita a la reflexión, especialmente a todos aquellos a quienes invade la nostalgia de la tierra que los vio nacer. Una fecha como esta nos predispone a celebrar un nuevo aniversario de vida republicana y revivir las tradiciones y la cultura de nuestro pueblo. Pero también para dar cuenta de cómo nuestro desarrollo y la incorporación a la modernidad ha visto a Chile avanzar hacia nuevos estándares en calidad de vida y de nuestra propia democracia. A este respecto quiero omitir el hito histórico alcanzado por nuestro sistema republicano, cual es la aprobación por amplia mayoría de la modificación constitucional que permitirá a los chilenos y chilenas que viven en el exterior ejercer el derecho a sufragio. Anhelo largamente esperado por muchos de Uds. y por tantos otros compatriotas en todos los rincones del mundo. Junto con ello destaco la instalación del Primer Cabildo Ciudadano Territorial en Melbourne el pasado 25 de junio así como también el lanzamiento del Segundo Registro de chilenos en el Exterior, iniciativa esta última, que se inició el pasado 4 de julio y que se extenderá hasta el 30 de noviembre de 2016. Se trata de tres iniciativas gubernamentales que tienen un denominador común, cual es acercar a los connacionales que residen fuera de Chile, para hacerlos partícipes en la construcción de un país más inclusivo, que se ha resuelto avanzar hacia una institucionalidad y una democracia más robusta. Todo ello, en el contexto de la celebración de un nuevo aniversario de nuestro Día Nacional, no puede sino enorgullecernos de ser chilenos y de ser partícipes en la remodelación del país que heredarán nuestros hijos y nietos. VIVA CHILE, Septiembre 2016.
A message from: ERNESTO ANTONIO DUEÑAS AZUCENA Consul General of El Salvador Recognizing the human person as the origin and the aim of the activity of the Salvadoran State - The human person from the moment of its conception - That the Family is the fundamental base of the society and will have the protection of the Salvadoran State - That a Salvadoran by birth: Means been born in the territory of the El Salvador and children of Salvadoran father or mother, been born abroad; Original from one of the other States that constituted the Federal Republic of Central America, that having residence in El Salvador, shows before the competent authorities their will of being Salvadoran, without required to resign of its nationality of origin - That all Salvadorans by birth have the right to enjoy a double or multiple nationality. Paraphrasing the spirit of our National Constitution. It is my honour and pleasure on behalf of our National President Professor Sanchez Ceren, his wife, First Lady Margarita de Sanchez, the Salvadoran State and the warm, affectionate, and supportive people of El Salvador to celebrate and to salute, along with our Latin American and Caribbean brothers, that in this month of September, celebrate our countries Independence day and to present to the organizers of this outstanding Festival, our congratulations an assurances of our highest consideration and respect, for this continuous contribution of eleven years to the promotion of
our culture, identity and unity, that offers an enriching opportunity of diversity, experience and education. Thank you, to all performers, organizers, volunteers, supporters, and participants for your tireless efforts that ensure the ongoing success of this unique and wonderful Festival. God bless Latin America, The Caribbean, and Australia.
A message from: TELMO LANGUILLER MP Member for Tarneit / Speaker of the Legislative Assembly As a Spanish speaking Member of Parliament and the Speaker of the Victorian Parliament of Latin American background, it is an honour to have the opportunity to extend my best wishes and congratulations to the Spanish and Latin American community of Victoria in the September Latin Festival Magazine. I also wish to express my sincere gratitude to the new committee of the September Latin Festival President Dr Juan Romero, Vice-President Teo Suarez, Secretary Marta Torres, Vice Secretary Gladys Diaz, Treasurer Grace Falcon, Vice Treasurer Helen de la Plaza and to all the workers, volunteers, and the performing artists, who each year engage Victorians with enchanting food, dance, music and friendship. I would like to take this opportunity to recognise the strong commitment and participation of the multicultural communities throughout our state in this festival. I wish to also highlight the great work that was done over the years by the previous organising committee “Fonda La Clinica” led by its then president Miguel Santana. Once again, I extend my sincere congratulations to the September Latin Festival, and would like to express my deepest appreciation for this marvellous cultural event and gratitude for allowing us to be part of it. I anticipate that this will be as successful as last year and I look forward to joining you once again for a vibrant celebration of culture and community. Yours sincerely, 5
A message from: GABRIELLE WILLIAMS MP for Dandenong As the Member for Dandenong it is a pleasure to welcome the September Latin Festival for another fantastic weekend of festivities and fun as we showcase the strong Latin culture, history and cuisine that has and continues to contribute so much to the vibrant multicultural life we enjoy here in Melbourne’s south east. Again we welcome thousands of visitors from across Victoria who join us for this wonderful celebration. The September Latin Festival is an important showcase of the diversity that makes Victoria great and it provides an opportunity for all of us to celebrate the enormous contribution of Latin communities who now call Australia home. Our diversity is without doubt our greatest asset and here in Victoria we don’t just tolerate diversity, we celebrate it at every opportunity. It is what makes us unique and it is what makes us strong. I extend my sincere thanks to all the organisers, volunteers and participants at this year’s festival. Your contribution and impact across our community is immense and long may this continue!
A message from: MANUEL INNOCENCIO DE LACERDA SANTOS JR. Brazilian Ambassador to Australia Prezados brasileiros, latino-americanos e amigos de todo o mundo Celebrar a cultura de um país é manter vivas nossas raízes, mesmo quando nossas asas nos levam para terras distantes. É com muita alegria que neste mês de setembro, quando se celebra também a Data Nacional brasileira (7/9), temos a oportunidade de comemorar nossas tradições durante o “September Latin Festival” de Victoria. A comunidade brasileira nesse estado é formada, atualmente, por mais de 2 mil pessoas, muitas das quais irão prestigiar o festival em Sandown Park. O povo brasileiro é diverso e miscigenado – recebemos a todos de braços abertos. E é de braços abertos que a cultura brasileira espera por vocês no festival. Participem, conheçam mais sobre o Brasil e divirtam-se com nossa música e arte! São meus sinceros votos.
A message from: MANUEL INNOCENCIO DE LACERDA SANTOS JR. Brazilian Ambassador to Australia To Brazilians, Latin-Americans and friends from around the world. To celebrate the culture of a country is to keep our roots alive, even when our wings take us to faraway lands. It gives me great pleasure to announce that in the month of September, when we also celebrate Brazil’s National Day (7/9), we will have the opportunity to commemorate our traditions during the “September Latin Festival” in Victoria. The Brazilian community in Victoria currently consists of more than two thousand 6
English version
people, many of whom will be attending the festival in Sandown Park. Brazilian people are mixed and diverse and are known for welcoming everyone with open arms. It is also with open arms that Brazilian culture will be awaiting your arrival at the festival. So come along, get to know more about Brazil and enjoy yourselves with our music and art. Best wishes,
MÚSICA TRADICIONAL MAPUCHE:
Joel Maripil y Akun Maripil Akun tocando su Ñolkiñ, Ñorquin o Lolkiñ, instrumento de viento de origen mapuche
Las raíces del pueblo mapuche datan de varios siglos antes de la llegada de los europeos al nuevo continente, específicamente en los territorios que hoy corresponden a Chile y Argentina, representando en la actualidad a uno de los pueblos originarios más numeroso de toda Latinoamérica. La música tradicional es una de las expresiones culturales de este pueblo que manifiesta su identidad mezclando los relatos de su pasado ancestral con aspectos propios de la vida comunitaria rural que los caracteriza. Así, el aprendizaje y práctica de esta música están fuertemente ligados a procesos oral-vivenciales que se desarrollan en contextos tradicionales en donde lo espiritual y secular tienden a fundirse. Joel Maripil es un cantante tradicional mapuche o ülkantufe que se formó a través de un proceso oral-vivencial desarrollado principalmente en su lugar de origen, las comunidades tradicionales de la zona del lago Budi en el sur de Chile. Esto le ha permitido cantar, bailar y tocar instrumentos mapuches en las diversas prácticas musicales ligadas a actividades religiosas y no-religiosas que se desarrollan en las comunidades. Además, Maripil es ngenpin, título tradicional que lo faculta para dirigir ciertas ceremonias religiosas. Lo que más caracteriza el trabajo de Maripil es que es uno de los pocos ülkantufe que desarrolla actividades ligadas a la música tradicional pero en contextos no-tradicionales como festivales, conciertos y charlas académicas. En su nutrida carrera, Maripil ha participado como colaborador en diversas investigaciones y documentales, como además ha realizado giras por Chile, Argentina, Perú, Bolivia, Brasil, Estados Unidos, Canadá y ahora Australia. En esta oportunidad lo acompaña su hijo Akun Maripil, un joven bailarín o purrufe que da sus primeros pasos internacionales. Pese a su corta edad, Akun cuenta con varias participaciones como bailarín y músico en festivales y encuentros culturales en torno a la cultura mapuche. Javier Silva-Zurita. Es profesor de educación musical y etnomusicólogo. Como profesor, ha trabajado en diversas escuelas a lo largo de Chile y en los últimos años en algunas escuelas de música en Melbourne. Como etnomusicólogo, se formó en The University of Melbourne donde realizó su master y en la Monash University donde actualmente cursa un programa de doctorado. Sus temas de investigación han estado centrados en torno a la música mapuche.
TRADITIONAL MAPUCHE MUSIC:
Joel Maripil and Akun Maripil The roots of the Mapuche people can be traced back to several centuries before the arrival of the Europeans in the current territories of Chile and Argentina. In the present-day, the Mapuche are one of the largest original peoples in all of Latin America. Traditional music is one of the cultural practices used by this people to express their identity by combining accounts of their ancestral past with the rural and communitarian lifestyle that characterises them. Thus, the learning and practice of this music are strongly linked to oral-experiential processes carried out in traditional contexts where the religious and non-religious aspects of the culture tend to be closely interrelated. Joel Maripil is a traditional Mapuche singer or ülkantufe who acquired his musical knowledge through an oralexperiential process mainly developed in his home territory, the traditional communities of the Lake Budi area in the south of Chile. This has allowed him to sing, dance and play Mapuche musical instruments in the diverse musical practices linked to religious and non-religious activities held in traditional communities. Furthermore, Maripil is a ngenpin, a traditional authority who is allowed to perform several religious rituals. What most characterises Maripil’s work relates to the fact that he is one of the few ülkantufe that develops activities linked to traditional music but in non-traditional contexts, such as music festivals, recitals and academic talks. He has participated in several studies and documentaries and has performed in tours around Chile, Argentina, Peru, Bolivia, Brazil, USA, Canada and now Australia. This time he is performing with his son, Akun Maripil, a young traditional dancer or purrufe. Despite his youth, Akun has participated as a dancer and musician in several festivals and intercultural meetings about the Mapuche culture.
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Por Miguel Santana.
T I PA R M R PO
E:
N O I M I SPLIDA CUM
Miguel Santana, Presidente de ‘Fonda la Clínica’, fue Condecorado por el Gobierno Chileno con la orden Gabriela Mistral, en el grado de Comendador, por su aporte a la difusión de la cultura chilena y latinoamericana en Australia. ‘Fonda la Clínica’ fue condecorada por el Estado de Victoria por Excelencia en Asuntos Multiculturales. El ‘Chilean Latin American September Festival’ fue el resultado de muchas e interminables reuniones durante largo tiempo, en la que nos planteamos la idea de ir mas allá de lo que hasta ese momento hacíamos para mantener nuestra cultura, darnos cuenta que no bastaba con celebrarla y preservarla, también había que compartirla y difundirla en esta sociedad multicultural; no hacerlo, nos condenaba a practicarla a puertas cerradas y, como consecuencia, desaparecería al no haber inmigración desde nuestros países, pues no había la generación de recambio que pudiera mantenerla. También nos dimos cuenta que septiembre es el mes en que muchos países americanos celebran sus días nacionales y que las diferentes comunidades latinas numéricamente son muy pequeñas y que, por separado, no podrían jamás individualmente hacer de sus celebraciones un evento de importancia multicultural en esta sociedad. Los conceptos de inclusión y promoción para mejorar el entendimiento entre diferentes comunidades comenzaron a ser entendidos, trabajados e interactuados. Hoy vemos con alegría cómo en muchos lugares, los festivales latinoamericanos han ido proliferando, situación que hace algunos años no se daba, sin lugar a dudas nuestro ‘September Festival’ jugó un papel importante en el desarrollo de estos eventos y ha generado un creciente interés de las generaciones jóvenes por nuestra cultura, nuestra música, y nuestro arte. El ‘September Festival’ ha sido la plataforma y el lugar para los grupos latinoamericanos emergentes, un lugar de difusión para todas las actividades del quehacer comunitario, en el han participado organizaciones de desarrollo social, solidarios y culturales, no tan solo del Estado de Victoria, también lo ha sido para 8
los numerosos grupos de otros estados de Australia y de afuera del país que nos han visitado. Nosotros logramos llegar a ser un mega evento no por casualidad, fue la visión de un grupo de personas que le dieron el empuje y no trepidaron en hacer de esta fiesta el acaecimiento que todos nos merecemos; no escatimando en gastos para hacerla crecer: el lanzamiento del sitio web y el magazine, la capacitación de nuestra gente en diferentes áreas, la creación de métodos de trabajo, más toda la inversión en decoraciones, banderas y lienzos, que han sido traspasados al nuevo comité, viene a confirmar la continuidad y trascendencia en el tiempo de esta la gran fiesta multicultural. La presencia de numerosas autoridades del Gobierno local y Estatal nos indica y confirma la importancia del evento, a ello debemos sumar la difusión obtenida en los diferentes medios de prensa locales e internacionales; ejemplo de lo anterior y que destacan, fue la trasmisión de canal 9 de televisión para toda Austra-
Hon. Telmo Languiller, Presidente de la Asamblea Legislativa de Victoria, junto a Miguel Santana, y al Hon. Daniel Andrews, Premier de Victoria.
Translated from Spanish by Gladys Diaz
ON MY BEHALF:
MISSION ACCOMPLISHED Miguel Santana, President of “Fonda La Clinica”, was awarded the title of Comendador by the Chilean Government under the Order of Gabriela Mistral for his contribution to the dissemination of Chilean and Latin American culture in Australia. “Fonda La Clinica” was awarded by the State of Victoria for Excellence in Multicultural Affairs. The “Chilean Latin American September Festival” was the result of endless meetings which took place over a long period of time, in which we considered the idea of going further than what we had previously done with the aim of keeping our culture alive, we realized it was not enough to celebrate it and preserve it, it was also necessary to share and disseminate it in this multicultural society; to not do so, would have certainly forced it to remain behind closed doors and disappear over time due to little immigration from our Latin American countries; there was no replacement generation that could keep it alive. We also realized that September is the month when many American countries celebrate their national days. The diverse Latin American communities are statistically very small and could never, on an individual basis, make their celebrations an event of multicultural significance in this society. The concepts of inclusion and promotion to improve understanding between different communities were grasped by all of us and we soon began their development and implementation. Today we see with joy how Latin American festivals have multiplied in many locations, this was not seen a few years ago, undeniably our “September Festival” has played a significant role in the development of these events and has sparked in the younger generations a growing interest in our culture, our music and art.
lia, el año 2007, y la visita de canal 7-TVChile, en el año 2011 Nosotros, la gente de ‘Fonda la Clínica’, agradecemos a todos quienes de una u otra manera nos han apoyado e incentivado durante estos 10 años de vida del ‘Chilean Latin American September Festival’ y nos quedamos con la enorme satisfacción y orgullo de haber contribuido al desarrollo de nuestra comunidad chilena y latina, deseando toda clase de éxitos al Comité ‘September Latin Festival’, quienes toman la responsabilidad de
The “September Festival” has served as a platform for emerging Latin American groups. It has been a place of dissemination of all community related activities, with the participation of organization at the forefront of social, charitable and cultural development of Victoria as well as from other states of Australia and overseas. It is no coincidence that we succeeded in becoming a major event. This was the vision held by a group of people who gave the push forward and did not hesitated in making this festival the event we all deserved; no expense was spared in its development: the launch of the website and the magazine, the training of our people in different areas, the creation of working methods, in addition to all the decoration material, flags and banners which have been passed on to the new committee. This certainly confirms the continuity and achievement of a transcendent significance of a great multicultural event. The attendance of several local and state government authorities confirms the importance of this Festival. Its media campaign included local and international newspapers and television, an example of this was the broadcasting of Channel 9 television in 2007 to the Australiawide audience as well as the visit of channel 7-TVChile in 2011. “Fonda La Clinica” would like to thank all the people who have supported and encouraged us throughout the last 10 years of our “Chilean Latin American September Festival”, we feel great satisfaction and pride in having contributed to the development of our Chilean and Latin American communities. We extend our wishes of success to the new Committee “September Latin Festival” who will now take on the responsibility of organizing the event and carry forward our dreams so that the seeds that we planted yesterday will continue to flourish and grow higher and stronger with each passing day.
continuar con la realización del evento y de prolongar nuestros sueños de seguir arando para que las semillas que un día plantamos, continúen floreciendo y creciendo día a día más altas y robustas. 9
Alex González Noriel:
Por Marta Torres
¡September Latin Festival
Alex, con su camara, capto la belleza de esta flor del jardin de su casa
Era una lluviosa y fría mañana de junio. En un café, se percibía una cálida temperatura que contrastaba radicalmente con la lluvia que se deslizaba por aquellos enormes ventanales. Allí estaba Rosa dispuesta a contarnos del amor de su vida, Alex González. Se conocieron siendo aún adolescentes y desde ese instante caminaron juntos, se casaron y construyeron un hogar que se complementó con tres maravillosos hijos; dos varones y una princesita. Alex estudió secretariado en RMIT, fue uno de los primeros hombres que incursionó en esta área y fue contratado por Shell. Posteriormente estudió administración de negocios, emprendió una exitosa carrera y se independizó. ALEX HIJO Y HERMANO El hogar de sus padres estaba compuesto por tres hijos; Alex, su hermana Jacqueline y su hermano Cristian. Todos muy unidos entre sí y de todos ellos, Alex fue el más apegado a su madre. Su padre le enseño a amar el folclore chileno, a dar desinteresadamente, y la pasión por las artes, particularmente por las letras. Fueron muy amigos ya que ambos compartían y disfrutaban de los mismos gustos. “Con Alex fuimos muy unidos, él era mi chaperón”, señala su hermana. Cuando jóvenes a ella le daban permiso para ir a bailar, sólo si Alex la acompañaba y los permisos eran hasta la medianoche, hora en que las fiestas empezaban a tomar auge; así que se ponían de acuerdo y ambos atrasaban los relojes; cuando llegaban a casa y sus padres los increpaban por la hora de llegar, ambos se hacían los sorprendidos y mostraban sus relojes. Viejo truco del cual se reían mucho al pasar de los años. “Desde muy joven Alex fue el conciliador y el que unió a la familia”, indica Jacqueline; “… y eso es lo que echo tanto de menos ahora”, señala con tristeza. Él siempre buscó instancias para que compartieran en familia; organizaba paseos, 10
te saluda!
se juntaban a ver partidos de fútbol o a disfrutar una cena; lo importante era estar todos juntos. ALEX PAPÁ Como padre fue muy cariñoso y preocupado de los sentimientos de sus hijos. Les brindó una vida tranquila y con su ejemplo les enseñó valores, los que les han permitido ser muy felices. Los dos mayores están caminando por la senda profesional que ellos han elegido y eso los hace felices; por ende, Alex también estaba muy orgulloso al ver el éxito de sus hijos. Rosa está muy orgullosa de cómo Alex resolvía cualquier conflicto con sus hijos. Para él la conciliación y llegar a un acuerdo justo era esencial, y si para eso tenía que pedirles disculpas a sus hijos, lo hacía y a su vez les explicaba que de ninguna manera había habido una mala intensión en lo que les había afectado. “Alex nos enseñó que el dialogo es la clave en nuestra unión como familia”, señala Rosa ALEX MARIDO “La familia, para Alex fue fundamental; no sólo nosotros, sino también sus padres y sus hermanos”, explica su esposa. Asegura que, como todo matrimonio, a veces tenían altos y bajos, pero siempre llegaban a acuerdo y después se reían de las cosas que se hacían problemas. “Éramos muy felices”, añade. A Alex le gustaba mucho la poesía y la disfrutaba con pasión. Asimismo, le gustaba escribir poemas y pensamientos los que compartía con toda la familia y a menudo conversaba por escrito con Dios. “Le agradecía por cada día vivido, por sus hijos, por su familia, por sus éxitos, por su posibilidad de ayudar a otros” indica Rosa Para Rosa su marido fue un hombre muy amoroso, positivo, sencillo y profundo; disfrutaba de la belleza de una flor, meditaba sobre la extraordinaria capacidad del sol para vitalizar las hojas del jardín, de la perfección de la naturaleza. “Mi marido amaba la tranquilidad y era feliz cuando en casa nos juntábamos todos a disfrutar de nuestro tiempo en familia”, dice Rosa y nos asevera: “Yo sé que él es mi ángel” ALEX AMIGO “Mira, yo recuerdo que Alex se echaba un poco hacia atrás, entre cerraba los ojos como mirando a la distancia y de su boca salía un destello de ideas unidas a una red en donde ya tenía todo organizado, explicaba su idea y ya sabía el cómo, cuándo, dónde, por qué, para qué, quién, quiénes, etc.” señala su amigo Juan. “Brillante, Alex es un hombre brillante en el sentido más amplio de la palabra, e insisto ‘es’ porque su legado continúa”, concluye Juan. Otro amigo lo recuerda por su palabra amable, su consejo sabio y su ayuda desinteresada. “Me quedo con la alegría de haberlo conocido”, indicó. ALEX EN LA COMUNIDAD Miles de personas, y sobre todo aquellas pertenecientes a la comunidad hispana, compartieron en algún momento con Alex, ya sea como participante de un grupo folclórico, como
Alex saluda a un colega de Nueva Zelanda al estilo Maorí
miembro del Hogar de Cristo, colaborando con un orfanato; ayudando a juntar dinero para el Instituto del Cáncer Peter MacCallum, en una bicicletada desde Melbourne a Phillip Island, en la que con mucho ahínco participó junto a un amigo; a colaborar con los grupos Sauzal y Ayacan, etc. Pero eso no es todo; miles de personas le están muy agradecidas por sus orientaciones y consejos financieros. A través de ‘World Vision’ financió proyectos para Latino América y África, con los cuales los niños y sus comunidades fueron los favorecidos. “A pesar de que él siempre estuvo ayudando y participando con la comunidad, su familia y yo siempre fuimos los primeros, porque organizaba muy bien su tiempo, era muy ejecutivo; la calidad y calidez que guardaba para nosotros fue inmensa”, dice Rosa emocionada. Siempre apoyó las actividades solidarias y a los grupos u organizaciones que difundían la cultura y el folclore Latino Americano; y por esta razón Alex trabajó arduamente en el ‘Chilean Latin American September Festival’ y, cuando Miguel Santana decidió dejar esta responsabilidad a otros, los que escucharon el llamado público que hizo José Paredes, se organizaron en un comité y, por acuerdo unánime, Alex González fue elegido Presidente de la nueva organización. ALEX PRESIDENTE Fue así como a fines de noviembre del 2015 Alex asumió la presidencia del ‘Sepember Latin Festival’, para llevar a la práctica la unión de todos los latinoamericanos y difundir nuestra cultura y folclore por todos lados de este continente. En la primera reunión se fijaron objetivos, se asignaron cargos dentro de los participantes del comité, y se determinó que había que escuchar a personas con experiencia en llevar a cabo mega eventos para aprender de ellos; porque para Alex tenía que ser un ‘mega evento’ con participación de todos los hispanoamericanos residentes en Australia. NO HUBO UNA SEGUNDA REUNIÓN CON ALEX … Su salud le jugó una mala pasada; pero su deseo de servir y ayudar a los demás fue tan grande que, en su último suspiro, salvó la vida de cinco personas. “Lo más lindo fue que recibimos una carta del hospital en donde nos decían que todos los pacientes que recibieron órganos de Alex se estaban recuperando muy bien”, señala Rosa emocionada. Alex González vive y ‘September Latin Festival’ será su “Mega Evento”. 11
Alex González Noriel:
September Latin Festival salutes you!
It was a cold, rainy June morning. Inside a warm café, where the temperature was a sharp contrast to the outside rain sliding down the large windows. It was here where I met with Rosa, who was willing to tell us the story of the love of her life, Alex Gonzalez. They had known each other since they were teenagers and from that moment on they walked together hand in hand, they were married and built a home that was blessed with three wonderful children: two boys and a little girl. Alex studied Administration at RMIT, he was one of the first male executive assistants to enter in this field of work and he was soon hired by Shell. Later on he completed his studies in Business Administration and began a successful career where he set up his own business.
ALEX AS A SON AND A BROTHER There were three children in his family home: Alex, his sister Jacqueline and his brother Cristian. They were a close-knit family and Alex in particular was very close to his mother. His father bestowed upon him his love for Chilean folklore, his passion for the arts - particularly literature - and showed him how to give selflessly. They were very good friends and they enjoyed the same interests. Hi sister says “we were very close with Alex, he was my ‘chaperone’”. When they were teenagers, she was allowed to go to parties, only if accompanied by Alex, and they were given permission only until midnight, at which time most parties just got started; so they both agreed to wind back their watches and when they came home and their parents told them off for arriving late, they both showed their watches with utter surprise!. It is an old trick which has been much laughed at over the years. “From a young age Alex took on the role of mediator and the one who brought the family together,” says Jacqueline; “... And that is what I miss so much now” she says sadly. He always found an occasion where the family could spend time together, organising family outings, gathering to watch a football game or enjoying dinner parties; the important thing for him was to spend time together as a family” ALEX AS A FATHER As a father Alex was very loving and deeply concerned about his children’s wellbeing. He gave them a satisfying life and through example he taught them lifelong values, which have allowed his children to find happiness in life. The two older boys are heading down their chosen career paths and that makes them happy, this made Alex very proud of his children’s success. Rosa is very proud of how Alex handled family issues concerning their children. The process of reconciliation and the ability to reach a fair agreement were key elements to him, even if it meant having to apologize to their children, he in turn explained to them that the nature of his actions was absolutely unintentional. “Alex taught us that effective communication is essential to building a strong family unit,” states Rosa. ALEX AS A HUSBAND “For Alex, family was central; this extends to include his parents and siblings”. Says his wife. She explains that like in any marriage, there were ups and downs, however, they always managed to reach an agreement and later would laugh together at the things which seemed like huge issues at the time. “We were very happy,” she adds. Alex loved poetry and was passionate about it. He enjoyed writing poems as well as writing down his thoughts and feelings which he shared with the whole family. He often communicated with God through writing. “He’d thank Him for each new day, for his chil12
Translated from Spanish by Gladys Diaz
dren, his family, his successes and for his ability to help others”, states Rosa. For Rosa, her husband had been very loving, unassuming, positive, but also a man of thoughts. He delighted in the beauty of a flower, he would reflect on the perfection of nature, on the amazing ability of the sun to warmly embrace the leaves of a garden. “My husband loved peaceful surroundings and was happy when we all got together and enjoyed family time”, Rosa affirms: “I know he is my guardian angel” ALEX AS A FRIEND “This is how I remember Alex; he would lean back and with eyes half closed as if staring far into the distance, he would clearly express his ideas which became interconnected in such a way that he had everything mapped out, he explained his idea coherently and knew the exact how, when, where, why, what, who, etc.” adds his friend Juan. “Brilliant, Alex is simply a brilliant man in the broadest sense of the word, and I emphasize ‘is’ because his legacy still continues”, he concludes. Another friend remembers Alex for his kind words, his wise advice and selfless help. ”The joy of having known him will remain with me forever”, he states ALEX IN THE COMMUNITY Thousands of people, especially those who are part of the Spanish speaking community came to know Alex, either as a member of a folk group, as a supporter of Hogar de Cristo, working with an orphanage or fundraising for the Peter MacCallum Cancer Institute, where he made a great effort participating with a friend on a bike ride from Melbourne to Phillip Island; as well as cooperating with traditional dance groups such as Sauzal, Ayacan, etc. But that is not all; there are thousands of people who are grateful to Alex for his financial guidance and advice. By way of World Vision he funded a number of projects for Latin America and Africa, providing assistance to many children and their communities. “Although he was always involved in helping the community, his family and I always came first, he was very efficient with his time and very professional, the quality of time and attention he gave us was immeasurable” says Rosa with deep emotion. Alex always gave his support to community groups that respond to social interests and needs as well as organisations concerned with spreading the Latin culture and folklore; it is for this reason Alex worked hard in the “Chilean Latin-American September Festival” and when Miguel Santana decided to exit this organisation, a new committee was formed by those who heard the public appeal made by Jose Paredes to take on the new challenge. It was by unanimous vote that Alex Gonzalez became the new elected president. ALEX AS PRESIDENT So, towards the end of November 2015 Alex became president of “September Latin Festival” his mission was to bring together all Latin American people and disseminate our culture and folklore across this entire continent. During the first meeting, clear objectives were set, positions within the committee were assigned, and it was agreed that in order to be able to organise an event of this magnitude its members had to listen to people with experience and to learn from them; because for Alex it had to be a ‘Mega Event ‘ designed to incorporate all Latin American residents in Australia. THERE WAS NO SECOND MEETING WITH ALEX... His health would play a trick on him; but his desire to serve and help others was so great that in his last breath, he gave the ‘gift of life’ to five people. “It was wonderful to receive a letter from the hospital where we were told that all the patients who received Alex’s organs were on their way to recovery” says Rosa with emotion. Alex Gonzalez lives on and “September Latin Festival” will be his “Mega Event”.
THIRTY SIX YEARS TEACHING SPANISH
ESCUELA HISPANOAMERICANA The Escuela Hispanoamericana Inc. was established in 1979 by a group of parents from the Chilean community. The aim of the school was to provide children of the Spanish speaking community with the opportunity to learn to speak and further understand their Hispano-American Cultural heritage in an educational environment. Today the Escuela Hispanoamericana Inc. offers quality Spanish tuition for the broader Spanish and non-Spanish speaking community. Offering classes every Friday from 6.00 pm to 9.00 pm during Victorian School terms from Prep through to Year 12 respectively. The Escuela Hispanoamericana Inc. is authorised as a VCE provider offering accredited VCE Year 11 and 12 classes to all students wishing to pursue their Spanish tuition for VCE. The school operates as an Incorporated Association with a Volunteer Committee of Management, an appointed VCE Coordinator and 7 qualified Spanish speaking teachers. It operates from Noble Park Secondary College in Noble Park. There is a staff, student ratio of 1:10 with classes intentionally kept small in order to provide individual attention and personalised instruction to create an encouraging and supportive environment for students to learn while having fun and making new friends. A lounge area where parents can relax and enjoy a free cup of coffee or tea and purchase a range of delicious traditional Hispano-American foods at the school’s friendly canteen. Competitive rates and excellent value for money the school provides a quality program based on sound educational principles and the latest learning methodology; ‘Victorian Curriculum F–10’ and ‘VCE Spanish Study Design’. SPANISH TEACHERS The Escuela Hispanoamericana prides itself on its professional and highly-qualified staff. All of our teachers have native teacher qualifications from academic institutions from across South America and Spain. They each have native speaker fluency and are qualified and registered teachers with the Victorian Institute of Teaching. Our teaching staff offers expertise, experience and an energy and enthusiasm for teaching and interacting with young people within both our academic and extra-curricular programs.
SCHOOL CANTINA Volunteer parents run the school cantina every Friday night, ensuring there are traditional Hispanoamerican food including empanadas, churrascos y completos on offer for the students and parents. In 2017 classes will commence Friday 3 February. To enrol for classes please contact the school at
[email protected] or call 0418 549 725 Escuela Hispanoamericana Inc. Noble Park Secondary College 3 Callaghan Street Noble Park 3174 Map 89 - G3 http://www.spanishschool.com.au To contact the school: Email
[email protected] Phone Walter Walmaggia, President on 0418 549 725
Come and join in the Bingo fun on the last Friday of every month, between 6:00 pm to 9:00 pm. Bingo numbers are called in Spanish and English with great prizes to be won and new friends to meet! La “Escuela Hispanoamericana” ofrece clases de español para estudiantes desde Prep a año 12, todos los días viernes del calendario escolar de Victoria, desde las 18:00 a las 21:00 horas, en el Noble Park Secondary College. Las clases de los años 11 y 12 están acreditadas por el Ministerio de Educación como una asignatura más del Victorian Certificate of Education - VCE. Las matrículas están abiertas para la cuarta etapa del presente año y para el 2017. Contactarse con el señor Walter Walmaggia, al teléfono: 0418 549 725 Los esperamos y visite nuestra página en la red: http://www.spanishschool.com.au 13
Ivan Pincheira pintando un calendario azteca
Calendario Azteca
MANOS DE ARTISTAS
Capaces de transformar cualquier material en una obra de arte, los hermanos Pincheira son artesanos de corazón. Iván y Omar Pincheira son hermanos que se han dedicado des- Sus trabajos ya tenían renombre internacional y a Iván le ofrede niños a trabajar en artesanía y han llegado a ser verdaderos cieron enseñar artes aplicadas en el Colegio Latinoamericano de maestros en el arte del cobre repujado. Viviendo en Chile sus Integración, pero las cosas cambiaron bruscamente. trabajos fueron expuestos y vendidos a lo largo de todo Chile; Emigraron a Australia en el año 1974 y debido a las circunstantambién expusieron exitosamente en Perú y Bolivia. cias empezaron a trabajar “en lo que viniera, teníamos que salir Ivan nos cuenta que desde niño le gustaba el dibujo y a los 7 adelante con nuestras familias”, señala Iván. Así entre la fábrica años se enteró de un concurso que organizaba el diario La Ter- o la construcción siguieron ocupando sus horas libres en hacer, cera, participó y obtuvo el primer lugar. “El premio era una lan- principalmente, trabajos en cobre repujado y han expuesto en chita y fue mi primer juguete nuevo”, indica Iván. la feria de St Kilda, en la fiesta de la Hispanidad de la Calle JoSu padrastro era tornero en madera y muy jovencitos empeza- hnson, en los parques cuando se celebraban las Fiestas Patrias ron a trabajar en la misma fábrica. Su trabajo consistía en pintar chilenas; e incluso, en el Royal Melbourne Show 1977, por invitajuguetes de madera y les gustaba tanto que hasta se llevaban ción especial del Ministro de Emigración y Asuntos Étnicos, con trabajo para la casa. Posteriormente, Omar le propuso a su pa- todos los gastos pagados. “Por ahí tenemos la carta de agradecidrastro que se independizaran y los tres se dedicaron a producir miento que nos mandó el Ministro” dice Iván. variados artículos de artesanía en greda, pañuelos pintados a La riqueza de las civilizaciones precolombinas, en el más amplio mano, cobre repujado, cobre pintado, pantasentido de la palabra, ha sido la fuente inagotable llas y lámparas en cobre o aluminio, en made inspiración para los hermanos Pincheira. Sus dera torneada, e incluso hacían hasta puertas trabajos de repujados en cobre son obras maestras, talladas a mano. Asimismo, hicieron ‘Kokesque ilustran a la perfección cada detalle de las piehis’ (pequeños amuletos japoneses de la buena zas originales. suerte) de madera torneada y pintada a mano La Puerta del Sol (Inti Punku), ubicada en Tihuanay que ellos los transformaron en figuritas reco, Bolivia, está hecha de un solo bloque de piedra presentativas de todos los países. También han andesita, de aproximadamente 10 toneladas, tiene incursionado en el tallado en piedra y en cuestres metros de alto por cuatro de ancho y fue conscos de durazno. truida aproximadamente en el siglo VI DC. Según “Cuando estábamos en el liceo e hicimos la Bernardo Biados Yacivazzo, de la Universidad San gira de estudio, la directora nos dio una carta Francisco de Asís, en Bolivia, la ‘Puerta del Sol’ rede recomendación y nosotros la presentábapresenta el calendario de Los Incas. mos en las municipalidades de las ciudades La figura principal del dintel de la fachada es Vique visitábamos y los alcaldes nos dejaban exracocha o Dios supremo y a sus costados tiene 48 hibir y vender nuestros trabajos, así llegamos figuras, en columnas de a tres, que son representahasta Tacna” nos cuenta Omar sonriendo. ciones de hombres alados con coronas y otros con En Chile exponían en la FISA (Feria Internacabezas de cóndor. Todos ellos poseen báculo o cional de Santiago) reconocida a nivel munbastón, símbolo del poder y la sabiduría. dial, en el Cerro Santa Lucía, en la feria del ParTanto el repujado en cobre de la Puerta del Sol (Caque Forestal, en la plaza Ñuñoa, en Cartagena, lendario Inca) que ilustra a Viracocha y a dos de Coquimbo, Copiapó y Talca. Fue tal el éxito sus columnas laterales, como el Calendario Azteca, obtenido por los hermanos Pincheira que se son trabajos realizados por los hermanos Pincheira vieron en la obligación de emplear a 5 persoque merecen la más alta distinción y que tendrenas en forma permanente y antes de navidad mos el placer de exhibirlos en el ‘September Latin tenían a más de 20 trabajadores junto a ellos. Tumi, cuchillo sagrado de Los Incas Festival’ de este año. 14
CREATED BY THE HANDS OF AN ARTIST
Translated from Spanish by Gladys Diaz
• The Pincheira brothers are craftsmen at heart – having the unique ability to transform any material into a work of art. Ivan and Omar Pincheira are two brothers who have devoted themselves from a very early age to handicraft work and have become true masters in the art of metal embossing – specifically copper. Whilst living in Chile their works were exhibited and sold throughout the entire country, they also held successful exhibitions in Peru and Bolivia. Ivan tells us that since childhood he liked to draw and when he was seven year old he entered a drawing competition held by the newspaper La Tercera where he won first place. “The prize was a small boat and it was my first new toy” says Ivan. Their stepfather was a wood-turner and from a young age the brothers began working in the same factory. Their job was to paint wooden toys, they enjoyed the work so much that they took work home. Later, Omar proposed to his stepfather and brother to start up an independent business and soon the three of them set out to produce various handicrafts in clay, hand-painted scarves, copper embossing, painted copper, screens and lamps in copper and aluminum, turned wood, and even made hand carved doors. They made Kokeshis (small Japanese good luck charms) of turned wood and hand painted them making them into figurines representing all countries. They have also engaged in stone carving and carving of peach pits. “When we were in high school we went on a study tour, our school principal gave us a letter of recommendation which we presented to the different town councils of the cities we visited and the mayors allowed us to display and sell our artwork, we travelled as far as Tacna” says Omar with a smile. In Chile they held exhibitions in many locations including the worldwide recognized FISA (International Fair of Santiago); the Cerro Santa Lucia; the fair in Parque Forestal in Ñuñoa, Cartagena, Coquimbo, Copiapó and Talca. The Pincheiras became quite successful and soon had to employ 5 people on a permanent basis and during the busy Christmas period, they had over 20 employees. Their works had become internationally renowned and Ivan was offered a teaching position at the Colegio Latinoamericano de Integracion, but things were to change drastically. They migrated to Australia in 1974 and because of their situation as newly arrived migrants, they had to work in “in whatever came our way, we had to build a future for our families” says Ivan. Therefore, in combination with factory and construction employment, they continued to occupy their free time working in copper embossing. They have since held exhibitions at the St Kilda fair, at
the Hispanic Latin American Festival on Johnson Street and in festivals where the Chilean National Day was celebrated. In 1977 they held an exhibition at the Pantallas hechas a mano en Royal Melbourne Show by cobre o aluminio special invitation of the Minister of Immigration and Ethnic Affairs, with all expenses paid. “We still have the thank-you letter sent by the Minister” says Ivan. The wealth of pre-Columbian civilizations, in the broadest sense of the word, has been the source of inspiration for the Pincheira brothers. Their works are masterpieces of copper embossed representations, perfectly depicting every detail of the original pieces. The Puerta del Sol (Inti Punku - Gateway of the Sun), located in Tiahuanaco (also known as Tiwanaku), Bolivia, is carved from a single block of Andesite granite, weighing about 10 tonnes and measuring 3 metres high and 4 metres wide, it was built around the 6th century AD. According to Bernardo Biadós Yacivazzo from the University of San Francisco de Asis, in Bolivia, the “Puerta del Sol” represents the calendar of the Incas. The main figure is carved on the lintel of the gateway and is a representation of Viracocha o r supreme god, to his side there are 48 figures in columns of three, depicting winged men with crowns and others with condor’s heads. They all hold a staff or cane, a symbol of power and wisdom. The Puerta del Sol (Inca Calendar) gateway depicting Viracocha and two of the side columns as well as the Aztec Calendar are works created in embossed copper by the Pincheira brothers who well deserve credit for their achievements. We will have the pleasure of displaying their work in our “September Latin Festival” this year. Por Marta Torres Marta Torres nació en Chile, obtuvo el título de profesora de Ed. Básica, en la Universidad Católica de Chile y el post título en Administración Educacional en la Universidad de La Serena, Chile. Emigró a Australia y siguió en la docencia. Realizó un pos título en Artes Visuales, con mención en Óleo y Cerámica en la Universidad de RMIT y posteriormente obtuvo el título de Master en Adquisición de Segundos Idiomas, en la Universidad de Monash. Actualmente se desempeña como coordinadora de español en la Escuela Hispanoamericana. 15
Historia e Identidad
COCINA PERUANA:
• Sabores de cuatro continentes se unen bajo el ‘Inti’ • La papa y la quinua son autóctonos del Altiplano andino • El ceviche peruano es el más apetecido mundialmente
Ceviche Papa Altiplanica
Quinua
Causa Rellena
La comida peruana fue, es y será rica, renombrada y reveladora de nuestra historia debido a la fusión de pueblos, sabores y colores. Nuestra gastronomía es, actualmente, la mejor del mundo por su extensa variedad de deliciosos platos a disposición de millones de paladares. Ferran Adriá, gastrónomo español, manifiesta que la cocina peruana es: “Una historia detrás de cada gusto”. En Chile, donde se han abierto centenas de restaurantes, se dice que: “La gastronomía peruana, es el nuevo despertar del Perú”; y, Adolfo Ferrel, Presidente de la Asociación de Restaurantes Peruanos, señala que: “En nuestras comidas se funden muchos años, es una expresión llena de raíces y legados históricos y más que todo de identidad”. Al éxito culinario local se suman destacados gastrónomos peruanos en Europa y Estados Unidos que han sido clasificados dentro de los mejores a nivel mundial; muestra viviente que la cocina peruana es una exquisitez para degustar. El desarrollo económico de Perú está avanzando a pasos agigantados debido al interés de los turistas por la cocina. Ahora no solamente vienen a visitar Machu-Pichu, sino que también a saborear nuestros ricos y variados platos tanto regionales como capitalinos, que llevan pescados, mariscos, carnes, aves e innumerables verduras, todos de nuestra ‘Pachamama’, madre tierra. El Perú está dividido en tres regiones naturales de costa, sierra y selva; y a su vez, en Norte, Centro y Sur, con variados climas que permiten y contribuyen al crecimiento de diferentes especies de fauna y flora. Con sus climas calurosos, húmedos y helados como también su suelo accidentado, de llanos e intrépida y espesa selva, la tierra nos ofrece variedades de plantas, granos y condimentos, que da el toque final y cumbre a nuestras comidas tradicionales. Nuestra sangre peruana-Inca tiene raíces y mezclas desde la llegada de los españoles y africanos. Los españoles al mismo tiempo tenían ya influencia romana, griega y fundamentalmente árabe. Posteriormente se agrega la inmigración francesa, italiana, china y japonesa, de donde nace una gastronomía que une a cuatro continentes bajo el sol de Perú. En el transcurso de la historia peruana está implícita su gastronomía y es así como a la llegada de los españoles se incluyen procesos y técnicas de cocinar, macerar, freír y de pastelería. Actualmente existen en la costa peruana más de dos mil variedades de sopas y 250 postres tradicionales. Nuestra primera fusión del arte culinario peruano se da por la aceptación de alimentos de otras culturas. Las primeras recetas 16
Papas a la Huancaina
Turron de Pepa
de cocina aparecen en 1599, con el libro “Arte de Cocinar” de Diego Granado. El segundo libro con recetas culinarias lo escribió el cocinero mayor del Rey, en 1617. Los platos y pasteles que se les servían a las damas españolas y en los conventos religiosos se fueron haciendo muy populares, llegando a ser parte de la cocina tradicional peruana. La influencia africana tuvo un significado transcendental en el proceso de adaptación cultural, religiosa, musical y culinaria. Las esclavas africanas trabajaron, en su mayoría, con los aristócratas españoles como cocineras. Ellas usaron sus propios conocimientos y se adaptaron a los ingredientes que se encontraban a su disposición. Por ejemplo el anticucho que era preparado con carne de lomo fue reemplazado por corazón de res. Así, de esta manera afloran comidas como el cau cau, tacu tacu, humitas, turrón de Doña Pepa y picarones. A la liberación de los esclavos su cocina ya estaba unida a nuestras costumbres, creando un espectacular menú muy atractivo al paladar. Los productos de la tierra toman parte en las celebraciones de nuestra historia. La música y gastronomía peruana están atadas en un círculo lleno de acontecimientos importantes con comidas típicas de la costa, sierra y selva. El ceviche, seco de cordero, causa rellena, papas a la Huancaina, escabeche de pescado, chupe de camarones, juanes, olluquito con charqui, ají de gallina, carapulcra y otros guisos típicos y regionales, forman parte de nuestras celebraciones. Es importante mencionar que con la llegada de chinos y japoneses durante los siglos XIX y XX, nuestro quehacer culinario se incrementa y su variedad de sabores e ingredientes permiten la creación de nuevos platos. La ‘Historia de la Cocina Peruana’ señala que el Inca comía ceviche marinado con chicha, como era costumbre y cuando los españoles trajeron los limones y la cebolla; unido al uso del pescado al estilo japonés, se creó lo que internacionalmente se conoce como el famoso ‘ceviche peruano’ Uno de los granos más importantes que se produce en la zona andina es la QUINUA. Este alimento, sagrado para los Incas, se encuentra en los supermercados de todo el mundo por su alto porcentaje de proteínas y su versatilidad culinaria. La papa, tubérculo típico peruano, con más de 3.000 variedades, data del siglo 8.000 a.C. y es parte del auge culinario. El Perú es el primer productor de papas en América Latina, que crecen a una altura entre 3,812 a 5,500 metros sobre el nivel del mar. Nuestros agricultores siguen trabajando con maquinarias originales por respeto a lo nuestro y nuestra antigua civiliza-
PERUVIAN CUISINE:
Translated from Spanish by Gladys Diaz
ITS HISTORY AND IDENTITY • The flavours of four continents come together under the “inti” • The potato and quinoa are native to the Andean highlands. • The Peruvian ceviche is the most famous in the world. Peruvian food has always been and will continue to be delicious, it is world-renowned and revealing of our history due to the merging of its peoples, flavours and colours. Today, our cuisine is the best in the world, known for its large variety of tasty dishes made widely available to millions of palates. The Spanish chef Ferran Adria believes that Peruvian cuisine contains “a story behind every individual taste”. In Chile, where hundreds of Peruvian restaurants have opened up, it is said that: “Peruvian cuisine represents the new awakening of Peru”; and Adolfo Ferrel, President of the Peruvian Restaurant Association, states: “many years meld together with our food, it is an expression filled with cultural ancestry and historical legacy, and above all with a strong sense of identity”. In addition to the cuisine’s local success, a number of renowned Peruvian chefs in Europe and the United States have been ranked among the best in the world, this culinary success is living proof that Peruvian cuisine is a delicacy to taste. Peru’s economic development is rapidly progressing due to the increasing number of tourists taking an interest in local food. Nowadays, they visit not only Machu Pichu, but also come to delight in our delicious selection of regional and central dishes, these include fish, seafood, meat, poultry and a large variety of vegetables, all derived from our “Pachamama”, our mother earth. Peru is divided into three main geographical regions including the coast, the mountains and the tropical forest; which correspond to the north, central and south part of Peru. Its large diversity of climates allows for the development of different species of fauna and flora. With its hot, its humid and cold climates as well as uneven terrain with plains and dense forests, the land offers a wide varieties of plants, grains and spices which give the final touch to our traditional foods. Our Peruvian-Inca blood originated at the time of the arrival of the Spaniards and Africans, the former had Roman, Greek and mainly Arab ancestry. This was followed by immigration of the French, Italian, Chinese and Japanese people who gave rise to a cuisine that unites four continents under the Peruvian sun. Peruvian cuisine has been an essential characteristic of the history of the country. With the arrival of the Spaniards, different cuisine techniques and processes were introduced such as marinating, frying and pastry making. In the coastal region there are currently more than 2,000 varieties of soups and 250 traditional desserts. Our initial fusion of Peruvian is accomplished through the integration of other cultures. The first recipes were published in 1599 in a book called “Art of Cooking” by Diego Granado. A second book was written in 1617 by the King’s main cook. The dishes and desserts served to the Spanish ladies and as well as those served in religious convents were becoming increasingly ción Inca. Los incas fueron grandes consumidores de papa y lo usaban para hacer chuño, alimento primordial del pueblo de otrora. La directora del Proyecto Propapa-ADERS Perú, Celfia Obregón Ramírez, informa que el año 2014 se produjeron 4,690 millones de toneladas de papas; y, de acuerdo a las estadísticas de las Naciones Unidas, la papa es el tercer alimento más consumido en el mundo. La cocina peruana tiene mucho que ofrecerle. Visítenos, ¡Perú los espera!
popular, and came to be part of traditional Peruvian cuisine. The African influence had a historical importance in the process of cultural, religious, musical and culinary adjustment. The female African slaves worked mostly with Spanish aristocrats as cooks; they used their own knowledge and modified their cooking methods to incorporate local ingredients. For example anticucho (skewer) which was prepared with beef tenderloin was replaced by beef heart. As a result, the following dishes emerged in a similar fashion: cau cau, tacu tacu, humitas, Doña Pepa nougat and picarones. At the time the slaves were freed, their cooking tradition had already merged with our tradition, thus creating an extraordinary menu which was greatly appealing to the palate. Our local produce is a key component in the celebration of our history. Peruvian music and cuisine are closely interrelated and form an integral part of important events with typical dishes from the coast, the mountain and the forest. The ceviche, seco de cordero , causa rellena, papas a la Huancaina, escabeche de pescado, chupe de camarones, juanes, olluquito con charqui, ají de gallina, carapulcra, and other regional and typical stews form part of our celebrations. It is important to mention that with the arrival of Chinese and Japanese migrants during the nineteenth and twentieth centuries, our culinary endeavour increased and its variety of flavours and ingredients gave rise to the creation of new dishes. The “History of Peruvian Cuisine” indicates that the Inca ate ceviche marinated with chicha, as it was the customary way of preparing it, but when the Spaniards introduced lemons and onions, together with the Japanese style fish: the famous “Peruvian ceviche” was created. One of the most important grains produced in the Andean region is quinua (quinoa). This food sacred to the Incas. Nowadays, it is found in supermarkets around the world and it is best known for its high percentage of protein and culinary versatility. Potatoes are typical of Peru, they date from 8,000 B.C., there are currently over 3,000 varieties and they form part of the culinary boom of Peru which is the largest producer of potatoes in Latin America, they are harvested in a region between 3,812 to 5,500 meters above sea level. Our farmers continue to work with original machinery out of respect for our ancient Inca civilization. The Inca people were great consumers of potatoes and they used it to make chuño (potatoe flour), which was a basic staple in their diet. Ms Celfia Obregon Ramirez, Director of the Propapa-ADERS Peru Project, reports that in 2014 the production of potatoes in Peru reached 4,690 million tons, and according to statistics from the United Nations, the potato is the third most widely consumed food in the world. Peruvian cuisine has a lot to offer. Visit us, PERU is waiting for you!
Por: Angela Barra. Born in Peru, Angela Barra has been an active member of the community since arriving in Australia in 1977 with her family. A Physical Education and Spanish teacher for over 34 years, a dancer (Peruvian Folk Dancing Group), a competitive basketball player for Chile and Argentina and a soccer player for Peru United and Scotch Waverley Soccer Clubs have kept this proud grandmother of eight very busy.
17
Allison Elguet a
DEL FESTIVAL INTERNACIONAL DE VIÑA DEL MAR A ‘SEPTEMBER LATIN FESTIVAL’:
Representando a Australia fue la ganadora del Festival Internacional de Viña del Mar 2016, como la mejor interprete
Allison nació en Chile y emigró a Australia siendo una bebé junto a su madre y a comienzos del año 2015 volvió a visitar a sus familiares y tuvo la genial idea de postular al Festival Internacional de Viña, como cantante representando a Australia. Enorme fue su alegría cuando le informaron que había quedado clasificada para participar en el certamen y nos cuenta que su experiencia en el escenario se basaba en las presentaciones que tenía que hacer como parte de sus evaluaciones de sus estudios de música. En Viña del Mar tuvo que competir con artistas ya consagrados y de mucha experiencia frente a micrófonos y cámaras, con audiencias de miles de personas; como el representante de México, Alexander Acha, hijo del cantante Emmanuel y que había recibido el Grammy Latino como ‘Mejor Artista Nuevo’; Patricia Menéndez, representante de El Salvador, que había ganado el festival internacional de Punta del Este, de Uruguay; o Lucia Covarrubias que ya había trabajado en Chilevisión y TVN, además de haber sido finalista en ‘Rojo, Fama Contra Fama’ de Perú. “Estaba muy nerviosa, todo era tan diferente a las experiencias que yo tenía y ver a tanta gente fue realmente increíble. Yo tuve el apoyo de la amiga que me ayudó a escribir la canción con la que participe y de mi mamá, que estaba visitando a la familia”, señala Allison. Actualmente estudia música con especialidad en actuación contemporánea y está trabajando en escribir sus canciones para lanzar su álbum en Chile y en Australia a fines de año, o a comienzos del próximo, y su sueño es convertirse en cantante profesional. En Chile hizo muy buenos amigos y se sintió muy apoyada por todos los otros artistas mientras se encontraba atrás del telón. También le sorprendió mucho que al Festival asistiera todo tipo de público “ricos y pobres”, dice Allison Una noche que no le tocaba actuar en el festival fue con su amiga Shawnee a ver un show de Ana Torroja, cantante pop del ex-trio Mecano, y lo que más le llamo la atención fue la alegría de la gente: “Todos estaban felices, cantaban y bailaban creando un ambiente muy lindo; cuando Ana estaba cantando se sentía una energía muy positiva y toda la gente movía los brazos al compás de la música”, indica Allison. Allison se sintió muy querida por el público chileno. “Cuando actué la gente me aplaudía mucho, encendían antorchas y eso me daba mucha fuerza; después todos querían sacarse fotos conmigo y me felicitaban, fue muy lindo y yo sentía que me querían de verdad”, concluye. A pesar de que Allison habla poco español, esto no fue obstáculo para comunicarse con su público y quedó maravillada con el resultado obtenido en el evento y con la respuesta del ‘monstruo’ del Festival Internacional de Viña del Mar. 18
Por Marta Torres
Translated from Spanish by Gladys Diaz
FROM VIÑA DEL MAR INTERNATIONAL SONG FESTIVAL TO “SEPTEMBER LATIN FESTIVAL”: ALLISON ELGUETA Representing Australia, Allison Elgueta won Best International Singer and Performer Award at the Viña del Mar International Song Festival 2016. Allison was born in Chile and came to Australia as a baby with her mother. In early 2015 she returned to Chile to visit relatives and had the brilliant idea to apply for the Viña del Mar International Song Festival, as a singer representing Australia. She was extremely excited to find out she has been selected to participate in the contest. She tells us that her only experience on stage was based on the presentations she had to do as part of her school assessments. In Viña del Mar she had to compete with well- established artists who had vast experience performing in front of television cameras and large audiences. These contestants included the representative of Mexico, Alexander Acha, son of singer Emmanuel and who had received the Latin Grammy Award for ‘Best New Artist’; Patricia Menendez, representative of El Salvador, who had won the International Festival of Punta del Este, in Uruguay; and Lucia Covarrubias who had worked in the Chilean television channels Chilevisión and TVN, as well as being a finalist in ‘Rojo, Fama Contra Fama’ in Peru. “I was very nervous, everything was so different from anything I had experienced before, and it was really amazing to see so many people. I had the support of my friend who co-wrote the song and of my mum, who was visiting relatives” says Allison. She is currently studying music with a specialisation in Contemporary Performance and is working on writing her songs to release an album in Chile and Australia later this year or early next year. Her dream is to become a professional singer. In Chile she made very good friends and felt the support of all the other artists at the Festival while she was behind the curtain. She was very surprised to see that a large range of audience attended the Festival, “the rich and the poor”, says Allison. On a night when she was not required to perform at the Festival, Allison and her friend Shawnee went to see a performance by Ana Torroja, a pop singer of her ex band Mecano, and what most caught her attention was the sheer joy of the people “everyone was so happy, they sang and danced creating a very nice atmosphere, when Ana was singing I could feel a very positive energy and everyone was waving their arms to the beat of the music”, says Allison. Allison felt incredibly loved by the Chilean audience. “When I performed, the people cheered me on, they lit torches and that gave me a lot of encouragement. Afterwards, everyone wanted to take pictures with me and congratulate me, it was very nice and I felt their sin-
cere affection towards me” she concludes. Although Allison speaks little Spanish, this was not an obstacle to communicate with her audience. She was amazed with the result obtained in the competition and with the response of the “monster” of the Viña del Mar International Song Festival.
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ON STAGE
SAT 24TH & SUN 25TH
JOSE RAFAEL FUENTES, was raised in New York to Cuban parents. He was a member of the group, FULANITO for more than a decade and became known as one of the main voices of the group. One of the great successes he had as a singer in the group was the release of “Guallando” that was used by US marketing campaigns for ESPN, World Series Baseball (1996) and many others. After Fulanito sold more than 6 million albums worldwide, Jose decided to pursue his solo career under the name DON FULANO. Don Fulano will visit Australia with his show “Que siga la Fiesta”. A show in which he will play some of his greatest hits popularized with his big band “Fulanito”, hits such as; “Guallando”,”Asi es que me gusta a mi”,”Que comience la fiesta” among others.
He is also bringing some of his latest productions with “Whiskey with Ice” and pays tribute to the great Arturo Vidal with the anthem, “Gozando la Fama”. Direct from New York, Don Fulano brings to Australia a show full of energy, joy and charisma. With a musical quality that has earned multiple nominations at the Billboard Awards, and two Grammys nominations. Don Fulano has been recognized in Washington DC as Group of the Year, consolidating his career in America, Europe and Oceania. Some of his best albums with Fulanito are; • FULANITO “El Hombre Mas Famoso De La Tierra” (1997) • Álbum: FULANITO “El Padrino” (1999) • Álbum: FULANITO “Americanizao” (2001) • Álbum: FULANITO “The Remixes” (2001) • Álbum: FULANITO “La Verdad” (2004)
AFTER 25 YRS IN THE DJ INDUSTRY … DJ A-GEE ORTIZ STILL HAS WHAT IT TAKES TO BE ONE OF SYDNE’Y ELITE DJ’Z … BEING RECOGNISED FOR HIS TALENT IT HAS PUT HIM AMONGST THE BIGGEST DJ CREW IN NYC ‘LATIN MIX-MASTER’, Released and produced a number of Reggaeton, Latin & Urban mix-tapes with Local & International Artist Hosting From Fulanito, Magic Juan, DON FULANO, Donko Y La Secta Crew, CALLE LATINA, BOOMER, JULIO VOLTIO, Guary & Cleyton, DAVID ROJAS, Coscuella, JOWELL & RANDY, Oz LOCOS, & D-MINUS which have received great reviews from fans. His vast experience as a DJ, has made him very popular in the Latin & Urban Clubs scene, & AUSTRALIA WIDE.
20
SAT 24TH
Ole Ola
BRAZILIAN FLOOR SHOW
Caramba Dance and Sambasitas Production! Premier Brazilian entertainment company, Caramba Dance and Sambasitas Production! With a team of up to 10 Rio Samba dancers, 4 Brazilian male dancers, Capoeira artists and a full Brazilian Drumming band, Sambasita and Caramba specialist in performances for corporate events, product launches and much more. They specialise in getting the party started and creating a truly memorable and authentic Brazilian night. September Latin Festival presents: MELBOURNE’S PREMIER Brazilian ENTERTAINMENT COMPANY - S AMBASITA PRODUCTIONS and CARAMBA BRAZIL!
Ole Ola is a dance show that will take its audience to an imaginary trip to Latin America. Produced and choreographed by one of Australia’s most recognised dance director and choreographer Fabio Robles, who has choreographed for big productions such as; “So You Think You Can Dance”, “Dancing With the Stars” and “Dirty Dancing” the musical. The show began in 1990 with the idea to take the life and culture of South and Central America to the stage through dance. A multicultural show that will take you on a journey, to Brazil with the Samba. Ole Ola has a residency in Melbourne’s premier Latin venue Copacabana International. Ole Ola a dance spectacular performance, great energy, colourful costumes and quality professional dancers. A show with the wow factor that will make any event memorable.
ON STAGE
Quarter Street SAT 24TH
Back to the heart of classic
Salsa
Quarter Street take you back to the heart of classic salsa. Inspired by the raw sounds of New York in the 1970’s, the Quarter Street revisit an era where the music of the streets resonated with the voice of the people. Formed in early 2011, Quarter Street combine the fresh energy and the skills of well known established musicians. A dynamic live band with a driving rhythm section and heavy horn section, this vibrant group of talented Melbourne musicians are quickly making a splash in the Australian music scene. From the first few notes, it sounds like the real thing. Piano and bass riff hard. Percussion enters. ¡Oiga Papa! Listen up! The trombones come in thick and strong. Fantasia, the first song on Quarter Street’s self-titled LP is authentic ‘salsa dura’ from the old school. Hard salsa. It’s not shiny, it’s not clean and poppy or unduly jazzy. It’s tough, it’s gritty and ballsy, and in terms of musi22
cianship, writing and production, it straight up cooks. Sergio Botero’s voice is pure street Salsero, a worthy inheritor of the tradition defined by Hector Lavoe and Rubén Blades. Conguero Luis Poblete, and brothers Cesar and Cristian Saavedra on baby bass and timbales round out the core group of Quarter Street. Like many Latinoamerican migrants to Australia, their parents fled the various coups and revolutions of the 70s and 80s, raising their children to the sounds of the Spanish language superstars of the era. Cuban brass virtuoso Lazaro Numa, recently arrived in Melbourne, adds a taste of Havana to the underlying mix of classic Puerto Rico / New York styles. The boys grew up with salsa and now they’ve brought together an impressive unit of Melbourne’s finest Latin and Jazz musicians together to light up turntables and dancefloors worldwide. There’s been a lot of rough and real analog funk, soul and Afro vinyl material released in the last couple of decades, from the Dap-Kings and Antibalas in New York to the Poets of Rhythm in Germany. So far, few have flown the flag for the revival of hard-out analog era Latin music. Quarter Street are doing it. Salsa dura was born on the mean streets of New York in the 1970s, now it’s back. Quarter street take their cues from the giants: Eddie Palmieri, Ray Barreto and Willie Colon and the seminal record labels Fania and Tico records and charge straight ahead at the 21st century. The time is right.
SAT 24TH & SUN 25TH
Comparsa Urumbe is a well known powerful and dynamic ensemble of Multicultural Dancers and Drummers from Uruguay. In South America, Uruguayan traditions are well known for their long Carnival, one of the most important is Candombe. This rhythm travelled to Uruguay from Africa and is still today going strong in the streets and Carnivals of this small enchanting country. Candombe is considered an important aspect of the Uruguayan culture and was recognized by UNESCO as a World Cultural Heritage of Humanity. The Candombe rhythm is created by the use of 3 drums, Chico, Repique, Piano, when these 3 drums heat up it’s like nothing you’ve ever heard before. Impassioned by the rhythm the dance is vibrant, colourful, and exciting. Comparsa Urumbe has been promoting this beautiful culture in Sydney since 2001. From the magic of “Las LLamadas” in the Uruguayan Carnival, Comparsa Urumbe brings you Passion, Charisma and a Magnetic performance that you will never forget. September Latin Festival welcomes directly from Sydney: COMPARSA URUMBE.
PROGRAM
2016
Saturday 24TH MAIN STAGE
10:00 Door Open 11:00 Background music 12:00 Zumba Claudia Camargo 12:45 Roving entertainment Chinchinero 13:00 Back ground music 13:30 WELCOMING CEREMONY • Wurrundjeri Aboriginal Dance Group • Chilean Opening Ceremony • Joel Maripil - Traditional Mapuche Opening • National Anthems & Speeches • Cuecas: Campo Lindo Chilean MG • Stilt Divas 14:30 DJ music 15:15 De la Calle Cumbia band set Stilt Divas 15:45 CUMBIATON COMPETITION by Party with Latinas ($300 in prizes) 16:30 De la Calle Cumbia band set 17:00 Background music – DJ Roving entertainment Chinchinero 17:30 SHOW CASE DANCE PERFORMANCES Colombia La Cumbiamba Chile Ayekan Peru Ritmo y color Uruguay Comparsa Urumbe Colombia Bamboleo Chile Sauzal Peru Peruvian dance group Argentina Tango - Dance with Kristina Colombia Tunjos y Cantaros Mexico Mexbourne Brazil Caramba Cuba Buena Vista TM Chile Violeta Parra 18:45 Chilean singer: Allison Elgueta 19:00 DJ Pato 19:15 CARNIVAL TIME Uruguay Comparsa Urumbe Colombia Juan C Ospina Cuba Eric & Chantal Turro Martinez Brazil Carnival 20:30 DJ Pato 21:15 Quarter Street Orquestra - Salsa band 22:00 DON FULANO INTERNATIONAL ACT FROM NEW YORK 23:00 DJ A-GEE ORTIZ From Sydney 23:30 Quarter Street Orquestra - Salsa band 24:15 DJ Pato 01:00 Finish
24
11:00 12:00 13:30
AUDITORIUM
Background music DJ Jean WELCOMING CEREMONY AT MAIN STAGE
14:45 Inka Marka music from Andes - MG 15:35 Peruvian dance group of Victoria 15:40 Ayekan 16:00 Ritmo y Color Peruvian DG 16:05 Tunjos y Cantaros Colombian DG 16:25 Peruvian dance group of Victoria 16:35 Ritmo y Color DG 16:40 Buena Vista Turro Martinez - Cuban DG 16:45 Peruvian dance group of Victoria 16:50 Sauzal Chilean DG 17:10 Comparza Urumbe - Uruguayan DG 17:30 Violeta Parra - Chilean DG 17:50 Argentinian assembly with Katherine Aguirre 18:30 DJ Jean 18:45 CUECAS - Campo Lindo - Chilean MG 19:40 DJ Jean 20:00 LATIN DANCE GROOVES - Latin band 20:45 DJ Jean 21:30 HASTA LA CUMBIA - Tropical band 22:10 DJ Jean 22:40 Hasta la cumbia - Tropical band 23:10 DJ Jean 23:45 Hasta la cumbia - Tropical band 24:20 DJ A-GEE ORTIZ From Sydney 01:00 Finish
DG: Dance Groups / MG: Music Groups
Production Entertainment Manager: Oscar Zuniga Entertainment Coordinator: Ivana Horner Stage Manager: John Zuniga - Jean Arenas Stage assistant: Rafael (Fafe) Zuniga, Cristian Cid and Natalie Urbina. Production DJs: DJ Jean and DJ Mick Williams. Hosts: German Silva, Marcela Toro, Claudia Camargo, Carlos Colina.
SUNDAY 25TH
11:00 12:00 13:00 13:30 14:15 14:30 15:00 15:30 15:45 16:15 16:45 17:45 18:00 18:30 19:00 19:45 20:00 21:30 22:00
MAIN STAGE
Background music HOMAGE TO EL SALVADOR • Maya Dance Group • National Anthems • Prayer to the Flag • Procession of the Flag • Speeches • PIÑATAS!!!!!!!! Capoeira - Brazilian martial arts (off stage) SIN FRONTERAS - Mariachi band DJ Mick William music Stilt Divas Comparsa Urumbe Candombe Uruguay (off stage) Raza Brava - Chilean Folk band DJ Mick William music Stilt Divas Flamenco Spanish Music and DG DJ Pato Music Sonora Mapocho - Cumbia band DJ Pato FLOOR SHOW Brazil Ole Ola show Argentina Sarah Louise Brazil Ole Ola show Cuba Eric & Chantal Turro Martinez Brazil Ole Ola show Cuba Conga Finale - all cast Lonjas de Melbourne - Candombe DON FULANO INTERNATIONAL ACT FROM NEW YORK DJ Pato Music SAN LAZARO Cuban band in Concert DJ Pato Music End
11:00 12:00 12:45 13:30 13:50 14:10 14:50 15:00 15:20 15:25 16:15 16:20 16:40 17:25 17:30 18:00 18:30 19:15 19:45 20:30 22:00
AUDITORIUM
Background music Showy Dance Salsa/Tango Workshop Tutuma Session Latin American MG Mexbourne - Mexican DG La Cumbiamba - Colombian DG SOL ANDINO - Andean MG Caribay - Venezuelan DG Joel Maripil - Traditional Mapuche MG Tango Kids with Kristina BATAOLA Cuban traditional band Caribay - Venezuelan DG Violeta Parra - Chilean DG CUECAS: Campo Lindo Chilean MG Caribay - Venezuelan DG Buena Vista Turro Martinez - Cuban DG DJ Jean LA 45 Colombian Salsa band DJ Jean LA 45 Colombian Salsa band DJ Jean Finish Time
SUNDAY ON THE GARDENS: ANIMAL FARM 13:00 to 17:00
DG: Dance Groups / MG: Music Groups
MANAGEMENT RESERVES THE RIGHT TO CHANGE OR UPDATE THE SCHEDULE OF ENTERTAINMENT IF UNFORESEEN CIRCUMSTANCES ARISE. 25
ON STAGE
SUN 25TH
¡Hola, hermanos y hermanas! We are San Lazaro. A tribe of long-lost Latinos, wandering the desert continent of Australia in search of ourselves and our music. With backgrounds from Chile to Cuba to Catalonia, destiny drew us together at the Southern end of the world to sing the songs we needed to sing and tell the stories we needed to tell. How does a band from Melbourne, Australia, come to sound like this? blending old school salsa, reggae and funk with Latin-Americans folk styles so effortlessly and convincingly? How did this continent of kangaroos and deserts produce such emotive and raw Spanish language songwriting? like some kind of bizarre lovechild of Reuben Blades and Victor Jara, or a Latino incarnation of Johnny Cash backed by the Fania all26
stars... “It’s all about Serendipity” according to San Lazaro’s lead singer/ songwriter Franchesco “Keko” Viran. This unlikely group of musicians came together in the musical melting pot of inner city Fitzroy. Migrants from Latin America and Australian musicians found themselves playing together, pumping out the classics of salsa and mambo to seething crowds week after week when at some point it just became its own thing. No longer a bunch of songs from across oceans and decades but real home grown Australian Latin music, reflecting the experiences and culture of yet another wave of migrants to wash up on this vast island. Even if you don’t understand the lyrics, this music works. It works for the heart the soul and the hips, it works for the ears and the mind, it
works for young and old, man and woman. It transcends all barriers of race, creed and class. As per Keko Viran's powerful lead vocal "We’ve been playing and writing Latin music in Melbourne for 15 years now and over the past year, we’ve been recording our new album La Despedida. We think we’ve put together a special collection of songwriting that is honest, unapologetic and personal" La Despedida is all about the heartache and love lost, but it’s not just breakup songs. There are protest songs, songs of midnight ennui and songs that promise musical salvation. For the English speakers, we’re looking into ways to subtitle it all, but until we work that out – we invite you to put it on and at least have a dance.
It is a non-profit group dedicated to promoting Mexican culture in Australia, through joyful folk dance and music. It was created in 2003 by a group of Mexican enthusiast, since its beginnings, the group has performed in a variety of events, from charitable and non-charitable functions to major multicultural festivals in Victoria. The group has performed in senior houses, community centres, universities, etc. The group aims to help increase multicultural awareness in Victoria through the dissemination of Mexican traditions and rich culture. Mexbourne enjoy sharing a bit of “home” in their new Australian home and want to be able to keep their traditions alive. Mexican folk dance is a mix of different cultural traditions. Its historical roots are the synthesis of indigenous, European and African cultural influences but it continues to evolve with influences from modern pop culture. It is not one particular style but rather a collection of various regional and ethnic backgrounds. Dance traditions vary widely over Mexico’s territory. Today, traditional Mexican folk dance is a defining element of Mexico’s popular culture on a national and international level. Preservation and promotion of dances nationally have depended on whether they are seen as part of Mexico’s national identity. It is one of the few areas where indigenous practices are conserved and promoted rather than depreciated or eliminated.
SUN 25TH
SAT 24TH & SUN 25TH
MEXBOURNE Dance company
Sarah Louis - Jean Circus Perfomer / Dancer
Born in Montreal, Sarah Louis-Jean is a professional circus performer specialized in boleadoras (Argentinian rhythmical manipulation ground circus act) and a cabaret jazz dancer. Sarah learned boleadoras with Cirque du Soleil trainers since she was 10 years old and travelled to Argentina to improve her skills with the top boleadoras choreographers and teachers in; Malambo, Boleadoras, Bombo (Argentinian drum) and zapateo (feet percussion). For Sarah, boleadoras represents more than a dance. “We are fragile from the outside, but we also have immense inner strength to protect ourselves from the unexpected obstacles of life” Sarah also does fire dancing, drums (bombo), aerial hoop, tap dance, etc. She has performed in the United States, Europe, Argentina, Asia and Australia. She trained in Montreal and Argentina for 10 years with Cirque du Soleil trainers and danced with them, Cirque Eloize, 7 doigts de la main, Celine Dion, Vancouver Olympic Games Ceremony, Compañia Nuevo Arte Nativo in Argentina, Sochi, and currently weekly shows in Australia at Slide Cabaret, GOP Sydney just to name a few. Sarah, has thousands of professional shows of experience accumulated during 20 years since the age of 3. 27
ON STAGE
SUN 25TH This year Sin Frontera is coming back to September Latin Festival with a great Mariachi repertoire, with the biggest hits of Mexican memorable songs. From the corner of the world to the Yarra Valley...Alejandro Espino the front man of Sin Frontera Band. Born in Tijuana, Mexico, Alejandro is a talented musician, singer, composer and teacher. At 5 years of age, Alejandro started ‘playing guitar’ using coat hangers and elastic bands and at 19, he commenced studying the guitar and bass. He has 15 years of professional experience as a performer at festivals, corporate events, private functions and schools. In 2002, Alejandro founded the music group Arbol Azul and performed in the USA/Mexico border region. He toured ‘Canto a la Luna: A Musical Journey through Latin America’ throughout the USA, performing at more than 450 schools. Arbol Azul also performed regularly at the Centro Cultural Tijuana and with Young Audiences of San Diego, an American arts-in-education organization which awarded Arbol Azul ‘Performing Artist of the Year, 2007.’
Since moving to Australia in 2007, Alejandro has been performing as a children’s entertainer at the Prahran Market, Farmer’s Markets and festivals in Melbourne and beyond. Alejandro’s high-energy musical performances make him a popular choice for kid’s birthday parties and family events. He is a versatile musician who performs solo or with Sin Frontera Band.
Bataola
Cuban Tradicional Band
Son cubano is a style of music and dance that originated in Cuba and gained worldwide popularity during the 1930s. Son combines the structure and feel of the Spanish canción with Afro-Cuban traits and percussion. The Cuban son is one of the most influential and widespread form of Latin-American music: its derivatives and fusions, including salsa, have spread across the world. Son is specifically considered to be the foundation on which salsa was created. BATAOLA was founded in 2008; they have released one album titled “Convergencia”. Carlos Pérez, Cuban Lead Singer songwriter, is the charismatic verse delivering Maestro. 26
When José Díaz Rodríguez arrived in Sydney from Bolivia almost a decade ago, he felt it was imperative to keep in touch with his deep cultural roots; and together with his brothers in law Orlando Arias and Michel Bestrin, Inka Marka was born, they began performing weekends and for local community events. It wasn’t long before they noticed Australians really appreciated this type of music, so deciding to take the plunge they formed a full time band dedicated to performing the passionate music and colourful ethnic dances of the Andes. From humble beginnings and with only 3 members, Inka Marka has gradually grown over the years into a tight professional unit of 6 full time band members; moving base to Melbourne, gaining a manager, a record company and developing a wide ranging program of educational and cultural activities. Although each of the band mem-
INKAMusic MARKA from the Andes SAT 24TH bers have had long individual careers as performers and entertainers in their own right, both within Australia and overseas; together they combine to form a dedicated
group committed to bringing their love of traditional Andean music to Australia and the world as well as embracing the ‘contemporary’ music of the region.
SAT 24TH One of the new attraction for this year’s September Latin Festival; HASTA LA CUMBIA A band that follows the style of Pachanga, a style of Cumbia that is very popular in Chile and South America. The band members are a combination of newly arrived South American and local musicians. The core of the band consists mostly of Chileans who have been residing in Australia for many years. All band members have the same passion for this style of music and want
nothing more than to have fun on stage and interact with the audience. Hasta La Cumbia has very experienced band members who have performed with numerous bands both here in Australia and abroad. Hasta La Cumbia sound combines traditional sounds mixed with Ska, Reggae, Salsa and Merengue. The combination of these experiences and our willingness to provide a fun and entertaining experience makes Hasta la Cumbia a fun night out! 29
ON STAGE
CUMBIATHON!!! SAT 24TH FROM 3PM MAIN STAGE
De la Calle band and Party with LATINAS are bringing the best of Cumbia music and dancing to September Festival this year. Don’t miss out on this awesome band, the Cumbia Competition and the opportunity to win awesome prizes! The origin of cumbia music comes from the days of slavery in the late 17th century and is derived from the African word “cumbe” which means dance. Cumbia brings together three cultures - African, Indigenous and European. The African influence gives the rhythm of the drums while the Indigenous based flute blends in the melody. The European influence provides some variations in the melodies, choreography and costumes of the dancers. The music became very popular in the 1950’s and 1960’s migrating across Colombia’s northern and southern borders, first to Ecuador and Peru, then Mexico and Argentina, and eventually into the rest of Spanish-speaking Meso- and South America. Today, Cumbia is one of the most melodic representative expressions of Colombia and Latin-American (it is more popular than salsa in many parts of these regions). Cumbia has been called the working people’s rhythm of Latin America; fun, direct and danced by everyone, it tells the stories of life, love and social commitment. Unlike other Latin American rhythms, almost every country has its own regional style of Cumbia. From traditional folk, hip-hop to vanguard electronic, Cumbia continues to be an important artistic platform, evolving throughout Latin America and the world. De la Calle is a nine-piece ensemble playing classic and contemporary Cumbias from the Caribbean and South America and is performing this year offering this accessible and popular rhythm to Melbourne. Today the band is expanding its unique sound by mixing cumbia with other rhythms and influences, including reggae, dub, ska, salsa and calypso with a rock attitude. http://delacallemelbourne.wix.com/delacalle Party with LATINAS is a group of experienced and talented entertainers passionate about music, dancing and having fun. They offer entertainment services for any age, occasion and celebration!. For further information contact Cata on 0401 726 016 or send an email to
[email protected]. LATINAS are getting the party started this year leading the Cumbiathon Competition, so be prepared to show off all your Cumbia moves! Amazing prizes to be won! 30
Bahía 1986: Rubén Ravanal Héctor Tito Méndez Pedro Farfán Luis Andrade Roberto Ramos José Leyton
BAHÍA
Bahía 2016: Fernando Gallardo (Cantante) Manuel Menjivar (Cantante) Sonia Barreto (Cantante) Pedro Farfán (Bongos y Vocal) Leo Pozo(Congas) Miguel Aravena (Timbales) David Allardice (Piano) Robert Krenn (1er. Trombón) Kenton Smith (2do. Trombón) Lionel Bailey (Saxofón) Lazaro Numa (Trompeta) José Leyton (Contrabajo y Manager)
Con treinta años consecutivos en los escenarios de Melbourne son la banda salsera más antigua de Victoria. La banda musical Bahía se creó en el año también interpretaban música para bailar. 1986 con sólo seis integrantes, los que toca- Pronto empezaron a incursionar en los ban batería, piano, bajo, saxofón y guitarra. ritmos caribeños, los que siguen tocando Su cantante era Héctor Tito Méndez, quien hasta hoy, además de interpretar música “tenía una voz prodigiosa”, recuerda su tropical de toda Latinoamérica. “Tenemos director, José Leyton. Principalmente in- un repertorio grande y somos capaces de terpretaban baladas las que, para la época, adaptarnos a cualquier audiencia”, indieran muy bien recibidas por el público y ca José. “Con tres cantantes, Sonia que es
colombiana; Fernando, chileno, y Manuel que es salvadoreño, llegamos a todo el público que se identifica con sus propios artistas y siempre nos ha apoyado”, señala José. El éxito de Bahía en los escenarios de Victoria se extiende ya por treinta años consecutivos y aseguran que a la gente australiana le gusta mucho la salsa; ritmo que se debe aprender a bailar, porque tiene sus pasos específicos y difiere mucho de la cumbia. En el año 1996 fueron invitados a tocar al Hotel Hilton de Singapur por diez días, que incluyeron las fiestas de Navidad de Año Nuevo. En este momento están creando su propia música y pronto lanzarán al mercado su álbum.
Por
Claudio Gómez Vega
TOONWORLD
Toonworld es un taller didáctico donde los niños (y los adultos que lo deseen) de todas las naciones pueden estar unidos por el arte, para desarrollar el autoestima, la toma de decisiones y el compañerismo. Nuestros personajes están basados en individuos y animales de todo el mundo que pasan por experiencias universales y se enfrentan a dilemas cotidianos como temor o intimidación. Toonworld comenzó en la mente y la imaginación de Claudio Gómez Vega y Mike Wheeler que sólo querían ayudar a los niños, inspirarlos a seguir sus sueños y que alcanzaran sus metas, a través de la caricatura y la animación. Y así nace, ¡Toonworld! Llenos de energía positiva, vamos a escuelas, bibliotecas, eventos, fiestas y festivales de toda Australia con el fin de compartir la experiencia de Toonworld con el mayor número de chicos y familias como sea posible. CHILENO DE EXPORTACIÓN (ALIAS JUJU MAN) La persona detrás del arte es Claudio Gómez Vega, de Valparaíso, Chile. Claudio es el director creativo de Toonworld. Desde muy joven, le gustaba dibujar caricaturas, y esto le inspiró a seguir estudios en diseño gráfico y multimedia. Ha trabajado y vivido en 23 países, incluyendo los Estados Unidos, Checoslovaquia, Italia y Australia, donde vive en la actualidad. Claudio ha trabajado en varias empresas, entre ellas Fox Kids y Cartoon Network. Como director creativo de Toonworld, Claudio da vida a los personajes a través de sus habilidades en la caricatura y la animación. Con su trabajo ha tocado el corazón de muchos niños en Australia que aprenden de simples personajes, pero que son muy reales. Claudio ha sido fundamental en el éxito y eficiencia de Toonworld hoy en día. Él no sólo enseña a los niños cómo dibujar, animar, perseguir sus metas y seguir sus sueños; sino que también, se compromete con muchos de ellos enseñándoles cómo crear dibujos animados, utilizando prácticas tecnológicas como la animación digital. 32
¿QUÉ HACEMOS? En resumen, realizamos fiestas, talleres, espectáculos y eventos, todos centrados alrededor de la caricatura, animación y lenguaje. Toonworld desarrolla la confianza en sí mismo y en la toma de decisiones, a través de actividades que giran alrededor de la caricatura, la animación, y el lenguaje positivo. Nuestros Toonpreneurs (artistas de caricatura) están totalmente equipados con libros de dibujo para los niños, plasticina para modelar y ipads para que participen en los talleres de animación. Los niños se entretienen con las actividades que se adaptan a su grupo de edad y etapa de desarrollo. Las actividades son atractivas, divertidas y son diseñadas a diferentes niveles de complejidad para satisfacer las necesidades de los chicos. También incorporamos la narración, la actuación, el hablar en público, y otras actividades que tienen bases en la psicología positiva y centradas en el desarrollo personal. ¿QUÉ ES LO NUEVO DE TOONWORLD? En los talleres de caricatura para niños se les enseñan a dibujar sus personajes favoritos, con diferentes técnicas para que puedan realizar sus dibujos a la perfección. Sin embargo; lo que muchos adultos tienden a olvidar, es que a los niños les gustan los personajes de dibujos animados, ya que se pueden relacionar con ellos y éstos los llevan a su nivel imaginativo, seguro y encantado de la ficción; que muchas personas simplemente no entienden. En Toonworld, nuestro objetivo es entender y aprovechar el mundo imaginario de los niños, llevando a nuestros programas la misma luz y vida que los pequeños ven en los dibujos animados. Esto lo hacemos mediante la creación de nuestros propios personajes, con los cuales los niños pueden relacionarse y conectarse emocionalmente. Sabemos que los niños son mucho más propensos
TOONWORLD
By Mike Wheeler
Toonworld is a place where children (and adults, if they truly believe) of all nations can come together and be united by art, a sense of self, and a sense of unity. Our characters are based on people and animals from all over the world that go through universal experiences and are faced with everyday dilemmas such as fears and intimidation. Toonworld started off in the minds and imaginations of Mike Wheeler and Claudio Gomez Vega who just wanted to empower children and inspire them to follow their dreams and achieve their goals through cartooning. And so, Toonworld was born! Bustling with excitement and positive energy, we go to schools, libraries, events, parties and festivals all over Australia with the aim of sharing the Toonworld cartooning experience with as many children and families as possible. Let’s Meet Claudio (A.K.A.: Juju Man) We are proud to be a part of the September Latin Festival this year, and as such, we thought we’d introduce you to the man behind the artistry, Claudio Gomez Vega. Born in Chile, Claudio is the creative director of Toonworld. From a young age, he loved cartoons, and this inspired him to pursue a career in graphic design. He has worked and lived in 23 different countries including the United States, Czech Republic, and Australia, where he now lives. Claudio has worked with various companies including Fox Kids and Cartoon Network. As the creative director of Toonworld, Claudio brings to life the characters through his skills at cartooning and animation. Through his work with Toonworld, Claudio has touched the hearts of many children all over Australia who learn from the basic yet incredibly relatable characters. He has been pivotal in Toonworld being as successful and effective as it is today. At Toonworld, Claudio not only teaches kids how to draw and encourages them to pursue their goals and follow their dreams, but he also engages many children, teaching them how to create cartoons using technological practices like computer animation. WHAT WE DO In short, we run parties, workshops, shows and events all centred around cartooning. Toonworld is all about teaching children self confidence and positive decision making through activities revolving around cartooning, animation, and language. When we run the programs, our Toonpreneurs come fully equipped with drawing books for the kids to take home and all the other resources required apart from tables and chairs. Kids are entertained with activities that are tailored to their age group and developmental stage. The activities are designed to be engaging, fun, and with varying levels of complexity to meet the different needs of the participating children. a aprender sobre la vida a través de historias y nuestro rol es ayudarlos a desarrollar su autonomía, autoestima e imaginación mediante las caricaturas y la animación, porque llegamos a ellos respetando sus respetivos niveles de desarrollo. LOS PERSONAJES Los héroes de Toonworld se llaman los Alphatoons, que protegen su tierra del perverso Rubbix y su banda de Stickmen, que son malhechores. Como su nombre lo indica, todos los personajes están basados en las letras del alfabeto y son dibujados fácilmente por las personas independientemente de su nivel y habilidad artística. Cada personaje tiene su personalidad, historias y trasfondos
We also incorporate story-telling, acting, public speaking, and other activities that have foundations in positive psychology and person centered counselling. WHAT’S UNIQUE ABOUT TOONWORLD? Cartooning workshops have been around for a while teaching kids all over the world how to draw their favourite cartoon characters and different techniques to make your drawing just right. However, what so many adults tend to forget is that children love cartoon characters because they are relatable and can reach kids on a safe imaginative level bound by the realms of fiction that many people around them just can’t quite meet them on. At Toonworld, our goal is to understand and harness this so that we can bring to our programs the same light and life that kids see in cartoons by creating our own characters within the Toonworld story who kids can relate to and connect emotionally with. We want to do this because we believe that kids are far more likely to learn about life through stories and that in order to reach out and empower kids through education, we need to be able to reach them with integrity on their levels. THE CHARACTERS The heroes of Toonworld are called the Alphatoons, who protect Toonworld from the evil Rubbix and his miscreant band of Stickmen. As their name suggests, they are all based on letters of the alphabet and can be drawn easily by people regardless of their level of artistic skills. Each character has their specific story, background, and personality traits that are relatable to people everywhere. As part of each character’s story is a true to life dilemma based on real life issues where the characters must undergo a process of problem solving and decision making using their particular skills and abilities in order to work through whatever problems that they are facing and achieve a positive outcome for themselves and those around them. WANT TO GET INVOLVED? Parents, if you want a fun and unique way to engage, entertain and educate your kids all at the same time, consider our cartooning and animation workshops. If you’re interested in hiring us for any of your future events, contact us through our website at www.toonworld.com.au específicos, siendo comparables con cualquier realidad. En las historia de Toonworld cada héroe presenta dilemas basados en la vida real, donde los personajes deben someterse a un proceso de resolución de problemas y toma de decisiones, utilizando sus habilidades y capacidades particulares con el fin de resolver la dificultad a que se enfrentan, logrando un resultado positivo para ellos y para los que les rodean. CONTÁCTENOS Los padres interesados en entretener y educar a sus hijos mediante nuestros talleres de caricaturas y animación, que resultan muy divertido y beneficioso para los niños, pueden contactarnos en nuestro sitio de internet: www.toonworld.com.au 33
FERIA DE LAS DE MEDELLÍN
• Verdaderas obras de arte hechas de flores • Los silleteros, con más de 100 kilos sobre sus hombros, recorren kilómetros y kilómetros. • A través de las flores pasaron de la esclavitud a la libertad La Feria de las Flores es un certamen que reúne en la ciudad de Medellín a varios miles de participantes durante el mes de agosto. Allí se dan cita más de 500 silleteros, entre hombres, mujeres y niños, unos diez mil caballos y mulares, innumerables autos antiguos, carrozas, comparsas, grupos de baile, saltimbanquis, payasos y, lógico, bandas y conjuntos de música -de la buena- por si lo anterior no fuera suficiente. Para muchos de ellos –nos referimos a Santa Elena y otros pueblos vecinoses un proceso que les toma todo el año. La historia arranca de esas fincas y veredas desde donde se cautivó el significado de flor adherido a la mujer. Poesía enardecida y plasmada por más de medio siglo y hoy un testimonio de empuje labriego y artesanal. Inmensidad de diversas y bellísimas flores formando un espectáculo indescriptible, incrustadas en miles de formas a unos armazones de madera los cuales llaman simplemente silletas. Otrora, estos aparatos, amarrados a la espalda de los campesinos y de los esclavos, servían para transportar mercancía y a los más pudientes. Hubiera colocado un subtítulo: “…y algunos recuerdos”. Lo digo porque ahora, después de más de medio siglo, recuerdo algunos detalles de la primera Feria de las flores en Medellín por allá en la década de los cincuenta. Sé que están haciendo cuentas y, cierto es, ya la primavera de la edad mayor me ha esparcido generosamente sus grises escarchas. La razón por la cual permanece en mi memoria es porque un primo hermano, un par de años mayor, se cayó del techo del Volkswagen tipo Kombi que manejaba mi padre y desde el cual estábamos viendo el desfile. Mi madre y otros cinco de mis hermanos estaban dentro del vehículo y mi padre había ido a ayudar a uno de los campesinos quien estaba teniendo problemas con su silleta. El angelito de mi primo (malicioso como él solo) quedó magullado pero sin ningún hueso roto. En Colombia se llevan a cabo múltiples desfiles con una gran 34
trascendencia internacional. Para los que desconocen el evento, aseguran algunos que para esta semana llegan a Medellín más turistas que en todo el resto del año y ello incluye a los extranjeros de múltiples países. La importancia radica no solo en la impresionante diversidad de flores que se exponen en las silletas, los arreglos que hacen de sus creadores verdaderos artistas o la fuerza y el coraje humano que necesitan estos campesinos y otros esforzados para caminar, por bastantes horas, con esos colosales artilugios terciados a cuestas. La otra razón es la histórica, analizada por algunos como ese cambio fundamental de esclavitud a libertad, tomada como un trueque de vehículo destinado al transporte de personas y de mercancía a uno más ornamental y con otros fines diversos. Ya ustedes analizarán las connotaciones adheridas a ese aspecto. “Pesadas las silletas” comentaba mi padre en aquel año 57 lo cual pude comprobar junto a un hermano en 1991, mientras, pretensiosos y luciendo en nuestros pechos relucientes carnés de periodistas y tomando algunas fotos, tratábamos de levantar una de aquellas silletas para colocarla en la espalda de uno de los participantes. Igual que aquel hombre de tez requemada y sonrisa corta, muchos otros silleteros habían partido desde la media noche anterior recorriendo más de 20 kilómetros para llegar a tiempo al desfile. A este tremendo esfuerzo se le suma que el mismo desfile dura unas cuatro horas atravesando un buen número de calles de la ciudad. Sigue vigente la simple silleta de materiales flexibles entramada con bejucos y mimbre y un cajón de madera. Las modernas llevan otras armazones que permiten una altura de varios metros y un peso de hasta cien kilos. El arte gráfico se expone en los motivos que representan. Se parte de una concisa variedad de ramilletes desplegando frescura y colorido hasta las emblemáticas con temas actuales nacionales o internacionales y las más modernas con artefactos mecánicos y electrónicos y, final-
Translated from Spanish by Steven Vanegas
THE FLOWER FAIR OF MEDELLIN • They are real works of art made of flowers. • The silleteros , carry a weight of more than 100 kilos on their shoulders and walk many kilometres. • Through this flower tradition, they transitioned from slavery to freedom. The Flower Fair is a contest which takes place in the city of Medellin during the month of August gathering several thousand participants. In this event you will find more than 500 silleteros amongst them men, women and children, about 10,000 horses and mules, countless antique cars, horse carriages, comparsas , dance groups, acrobats, clowns and, of course, bands and musical ensembles -the good kind- just in case the previous were not enough. For many of them -we’re referring to Santa Elena and neighbouring towns- it is a process that takes them an entire year to prepare. The history began in these farms and villages where the meaning of flower became synonymous with the word “woman”. Passionate and captive poetry for more than half a century is today a testimony to the spirit of the farmers and their craft. An immense diversity of beautiful flowers forming an indescribable spectacle, inlaid on thousands of wooden frameworks which are simply called silletas (chairs). In old times, these frames were strapped to the backs of peasants and slaves and were used to carry goods as well as serving as a means of transport to the wealthy. I should have written a subtitle: “…and some memories”. I say this because now, after more than half a century, I still recall some details of the first Flower Festival in Medellin during the fifties. I know that you have been doing the maths and, without a doubt, the spring of the older years has generously spread its grey frost upon me. The reason this memory remains so vivid is because one of my cousins, a couple of years older than me, fell from the roof of the Volkswagen Kombi van driven by my father and from where we were watching the parade. My mother and five of my siblings were inside the vehicle whilst my father had gone to help out one of the farmers who was having problems with his silleta. The angel of my cousin (mischievous like no other) was left bruised but without any broken bones. In Colombia, there are multiple parades which carry international significance. For those who are not aware of this event, many confirm that during this week more tourists arrive in the city of Medellin than the rest of the year combined, including many international tourists. The importance not only lies in the impressive diversity of flowers exhibited on the silletas, flower arrangements which make their creators true artists, nor does it lie on the human strength and courage endured by these peasants who walk many hours with these colossal frames hoisted on their backs. But its significance is also a historical one, conmente, las de logotipos y distintivos de corporaciones. Parte de aquello pude apreciar en mis dos únicas experiencias. La otra parte que se me escapa es la de las cabalgatas de miles de caballos o mulares con sus pasos y trotecitos que embelesan a los espectadores, las comparsas y bandas de música. Otra faceta que me perdí es una que nunca va a pasar de moda: el desfile de autos clásicos o antiguos. Asegura la gran mayoría que los nacidos en nuestra tierra somos unos atrevidos para muchas lides. También juran que somos exagerados a morir. Cierto. Pero como las cosas deben estar en su sitio, nunca olvido lo que me dijo un caballero chileno en la ciudad de Kyoto hace un par de años. Nos sentamos a tomar un café y a probar sus empanadas chilenas. Su restaurante-tienda de artesanías está atiborrado con sus fotos perso-
sidered by some as the fundamental transition from slavery to liberty, understood to be a barter from a vehicle intended for transporting people and goods to one that was more ornamental in nature and with many other purposes. Now you will be able to analyse the connotations with respect to the previous comments. In 1957 my father used to comment that the silletas were quite heavy, and later in 1991, I was able to confirm this with one of my brothers, when, being cocky and showing off our shiny journalist passes on our chests and taking some photos, we tried lifting one of those silletas to put on the back of one of the participants. Just like that man with the sun scorched skin and brief smile, many other silleteros had set off at midnight, travelling more than 20 kilometres to arrive at the parade on time. In addition to this huge effort, we must explain that the parade lasts around four hours, passing through several city streets. The simple silleta with flexible materials framed with reeds and wicker together with a wooden box, continues to prevail to this day. The modern versions have frames which are several metres high and weigh up to 100 kilos. The artistic decoration of the silletas displays a variety of motives which they represent. It begins with a variety of bouquets unfolding freshness and colour to those emblematically decorated with current national or international themes and the more modern ones are decorated with mechanical and electronic devices, lastly, there are also those with distinctive company logos. During my last two visits, I was able to appreciate this aspect of the event. However, I missed the parade of thousands of horses or mules with their “steps” and their trot that enchants the spectators, as well as the troupes and musical bands. Another characteristic which I missed out on, and one that will never go out of fashion, was the parade of classic and antique cars. Many will assure you that the great majority of those born in our country are bold in many matters. Some will also swear that we exaggerate greatly. True. But just how things should be in their place, I’ll never forget what a Chilean gentleman in the city of Kyoto said to me a couple of years ago. We sat down for a coffee to try his Chilean empanadas. His restaurant/crafts store was filled with his personal photos and those of some of his customers. When I told him which part of Colombia I was from, he hugged me and suddenly his eyes filled with tears. “Brother, the best festival in the world is the flower fair in Medellin!” We won’t make any more comments, I’ll have to go and see it for myself; I will then tell you all about it. nales y su clientela. Al preguntarme de qué parte de Colombia era, me abrazó y, de repente, soltó unas lágrimas. “¡Hermanito, la mejor feria del mundo es la de las flores de Medellín!” No hagamos más comentarios pues me va a tocar ir a verla. Después les cuento. Jairo Darío Vanegas Nació en Colombia en 1947. Sus poemas, cuentos, guiones, novelas y artículos diversos han sido publicados en Colombia, los Estados Unidos, Venezuela, Australia, Malawi y Taiwán. La Biblioteca Nacional de Australia conserva 14 de sus libros. En la actualidad continúa escribiendo e incorporado a la educación como capacitador y maestro del (Bendigo-Kangan) TAFE.
35
DE LAS CULTURAS MESOAMERICANAS:
El Conejo y el Coyote México es un país formado por una diversidad de culturas prehispánicas, las más conocidas son: La Azteca y Maya. Sin embargo existieron otras que dejaron un legado importante en la conformación del país, como por ejemplo la cultura Olmeca. Esta gran cultura fue la primera en formarse en territorio mesoamericano. En la actual República Mexicana, es la región que comprende la parte sur del estado de Veracruz y el oriente del estado de Tabasco, entre el río Grijalva y el Papaloapa, dejando como testimonio una enorme escultura en piedra de la cabeza Olmeca conocida mundialmente. Otra cultura importante fue la Zapoteca asentada al sur de Oaxaca y en el istmo de Tehuantepec. Ellos hablaban más de 15 idiomas. En la actualidad los ancianos siguen preservando sus dialectos y algunas familias que se resisten a perderlos, pero poco a poco van desapareciendo. En la época precolombina, los zapotecas fueron una de las civilizaciones más importantes de Mesoamérica. Ellos creían que nacieron directamente de las nubes. Su cultura esta colmada de leyendas y tradición. Esta región se encuentra en el hemisferio norte, y por la posición de la tierra se alcanza a mirar perfectamente la silueta de un conejo en la luna lo que inspiró a un abuelo zapoteca relatar a su nieto el siguiente cuento: En una noche de luna llena, entró el conejo en un huerto de zanahorias. Le dio tanto gusto que hasta brincó entre ellas y escogió las más grandes para comer. Cuando amaneció, el dueño del huerto fue a ver su siembra, se sorprendió al ver esparcidas las zanahorias por toda la tierra. Entre los surcos reconoció las huellas del conejo. Afligido el campesino, ideaba la mejor forma de atrapar al conejo ladrón. ¡De pronto se le ocurrió algo! Con cera de abeja hizo un muñeco, después lo plantó en medio del huerto y se fue. Al anochecer, el conejo regresó feliz pensando que su cena estaba asegurada, pero al llegar vio a un hombre parado en medio de la siembra, el conejo quedó inmóvil imaginando que era un cazador. Con resignación esperó la muerte. Siguió estático casi hasta el amanecer. Al ver que el hombre tampoco se movía, se acercó para tocarlo y sus manos quedaron pegadas en el muñeco de cera, intentó desprenderlas ayudándose con sus patas y estas también quedaron adheridas en la cera. Al día siguiente, el dueño fue a ver si estaba el conejo. Lo encontró pegado al muñeco de cera; lo metió en una red y se lo llevó. Al llegar a su casa, colgó la red en un árbol y se metió a calentar agua para preparar el chocolate, encendió más leña y así poder azar al conejo. Cuando todo estuviera listo, invitar a sus vecinos para darse un gran festín. Desde donde estaba, el conejo vio al coyote caminar agazapado 36
buscando que cazar. ¡Hey! Ven aquí gritó el conejo. ¿Qué haces ahí? Preguntó el coyote. El Conejo contestó: Estoy fingiendo que el granjero me atrapó, pero la verdad es una estrategia para entrar a la casa porque allí hay mucha comida, ¡y para ti también! Dijo el conejo con entusiasmo, ellos tienen un corral repleto de gallinas. El coyote se relamió con solo imaginar darse un gran banquete, tenía días sin comer. Si tu quieres dijo el astuto conejo, te puedo ceder mi lugar, yo me alimento de yerbas silvestres es fácil encontrar comida para mí. El coyote sin pensarlo ayudó a salir de la red al conejo y tomo su lugar. Cuando el campesino volvió y desató la red, vio al coyote ahí dentro y gritó: ¡A ti también te voy matar!. Cuando intento sacarlo de la red el coyote se escapó. Lleno de coraje, se fue a buscar al conejo. El coyote siguió las huellas y lo encontró en un árbol de naranjas. Ahora yo te comeré dijo furioso el coyote. El conejo ideo otra estrategia para volver a engañar al coyote. ¿Por qué me vas a comer amigo? si puedes probar estos dulces zapotes. Dijo el astuto conejo. ¿Qué es eso? Preguntó intrigado el coyote. Es una fruta blanda y apetitosa contesto el conejo. Arrójame uno para probarlo. Pidió el cándido coyote. El conejo lanzó la naranja con fuerza directo a la cabeza del pobre coyote que cayó al suelo desmayado. Cuando despertó el coyote; el conejo había desaparecido. Se levantó lleno de rabia y de nuevo siguió las huellas del conejo con la intención de comerlo sin escuchar sus embustes. Oscurecía, cuando el coyote encontró al conejo en la orilla de una laguna, al intentar comerlo el conejo dijo: Por qué me vas a comer hermano, si te estaba esperando para que comiéramos juntos ese queso que ves allí. Le señaló la luna que se reflejaba en el agua. Pero, eso sí, aclaró el conejo, tenemos que tomar el agua para llegar a él. El coyote miró el reflejo de la luna imaginando un gran queso y comenzó a beber agua y más agua. El conejo fingía beber y en un descuido del coyote salió corriendo. Corrió y corrió hasta las montañas, siguió subiendo, subiendo y así llegó a la luna quedando atrapado en ella para siempre. El coyote cuando cayó en cuenta que había sido engañado de nuevo. Muy enojado levantó la cabeza hacia cielo para hacer el juramento de comerse esta vez al conejo sin escuchar sus mentiras. De pronto el coyote miró al conejo en la luna y comenzó a aullar. Cuenta la leyenda Zapoteca que desde entonces los coyotes le aúllan a la luna.
Translated from Spanish by Gladys Diaz
FROM THE MESOAMERICAN CULTURES:
THE RABBIT AND THE COYOTE Mexico is a country formed by a variety of pre-Hispanic cultures, the best known are: Aztec and Maya. But there were others who left an important legacy in shaping the country, such as the Olmec culture. This great culture was the first to form in Mesoamerica. In today’s Mexico, it is the region encompassing the southern part of the state of Veracruz and eastern state of Tabasco, between the rivers Grijalva and Papaloapa, leaving as a testimony a huge carved stone sculpture of an Olmec head known worldwide. Another significant culture was the Zapotec which settled to the south of Oaxaca and on the isthmus of Tehuantepec. They spoke more than 15 languages. Today the elderly continue to preserve their dialects and although some families are reluctant to lose them, they are gradually disappearing. In pre-Columbian times, the Zapotecs were one of the most important civilizations of Mesoamerica. They believed they descended from beings that lived among the clouds. Their culture is full of legends and tradition. This region is in the northern hemisphere, and due to the position of the earth in relation to the moon, the silhouette of a rabbit on the moon can be seen clearly, this inspired a Zapotec grandfather to tell his grandson the following story: On a full moon, the rabbit came into a carrot patch; this gave the rabbit so much pleasure that he jumped between the carrots and chose the largest one to eat. At the break of dawn, the owner of the garden went to see his harvest and was surprised to see carrots scattered throughout the land. Among the furrows he recognized the footsteps of the rabbit. The afflicted farmer, devised the best way to catch the thief rabbit. Suddenly he thought of something! He made a scarecrow out of beeswax, and he planted it in the middle of the garden. At dusk, the rabbit happily returned thinking that his dinner was assured, but on arrival he saw a man standing in the middle of the garden, the rabbit froze imagining that he was a hunter and resignedly awaited his death while he laid motionless until dawn. Seeing that the man did not move, he went to touch him and his paws became stuck to the scarecrow, he tried to detach them by pulling with his feet but these also became stuck to the wax. The next day, the owner went to look for the rabbit and found him stuck to the wax scarecrow. He put the rabbit into a net and took it away. Upon arriving home, the hunter hung up the net from a tree and went to heat water to prepare some hot chocolate, he arranged the firewood to light the fire so he could cook the rabbit. When everything was ready, he would invite his neighbours for a great feast. From where he was, the rabbit saw the coyote walking, crouching looking for something to hunt. “Hey! Come here!” cried the rabbit. “What are you doing there?” asked the coyote. The rabbit replied: “I’m pretending that the farmer cau-
ght me, but it is really a strategy to enter the house because there is plenty of food, and for you too!” the rabbit said enthusiastically “There is a yard full of chickens”. The coyote licked himself imagining he would have a great feast, he had not eaten in days. “If you want” said the cunning rabbit to the coyote, “I can give you my place, I only eat wild plants and these are easy for me to find”, without hesitation, the coyote helped him out of the net and took the place of the rabbit. When the farmer returned and untied the net, he saw the coyote inside the net and he shouted: “I’m going to kill you too!” When he tried to get him out of the net, the coyote managed to escape. Full of rage, the coyote went to look for the rabbit. The coyote followed the tracks and found him on an orange tree. “Now I will eat you!” fumed the coyote. The rabbit devised another strategy to deceive the coyote again. “Why are you going to eat me, my friend? You can eat these sweet sapotes instead” said the rabbit wryly. “What is that?” asked the coyote intrigued. “It is a soft and luscious fruit” answered the rabbit. “Throw me one to try it” asked the coyote candidly. The rabbit threw the orange straight to the head of the poor coyote who fell to the ground unconsciously. When the coyote woke up; the rabbit was gone. He rose full of rage and again followed the tracks of the rabbit with the intention of eating him determined not to listen to his lies again. It was becoming dark, when the coyote found the rabbit on the edge of a pond, as he made an attempt to eat the rabbit, the rabbit said “Why are you going to eat me, brother, I was waiting for you so we can both eat that cheese that you see over there”. He pointed to the moon reflected on the water. “However”, said the rabbit, “first we need to drink all the water so we can get the cheese”. The coyote looked at the reflection of the moon imagining a big cheese and started drinking water and more water. The rabbit was pretending to drink and when the coyote was distracted the rabbit ran away. He ran and ran to the mountains, climbing higher and higher, and finally reached the moon where he became trapped in it forever. When the coyote realized he had been deceived again, he became very angry and looked up at the sky and swore that he would eat the rabbit without ever listening to his lies. Suddenly the coyote looked at the rabbit on the moon and began to howl. The Zapotec legend has it that ever since then coyotes howl at the moon.
Por: Meyi Cuellar Meyi Cuellar, a Journalist, TV Programs Coordinator and Teacher of Scripture in her country of origin Mexico, immigrated to Australia in 2009 and became an Australian citizen in 2014. She is an author of eight books one of which details her struggle and recovery from an unknown illness. She has received a number of awards among them “Mexican Women of Valor”.
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DE SABIDURÍA MILENARIA: Pese a los estudios que continúan llevándose a cabo, el origen de los indígenas más famosos de Uruguay sigue siendo una incógnita. Juan Zorrilla de San Martín, “El poeta de la patria” en su poema “Tabaré”, identificó al charrúa en la figura de ese indio enamorado de la española Blanca:
LOS CHAR
…Cruza el salvaje errante la soledad de la llanura inmensa, y el amarillo tigre, como él hosco, como él fiero y desnudo, la atraviesa; el tigre brama; el indio contesta en el silbido de su flecha. …se advierte en su mirada un constante recelo, y una impasible languidez, que tiene algo de triste, mucho de siniestro. Son esbeltas sus formas, duros sus movimientos, la tez cobriza, el pómulo saliente, negros los ojos, como el odio negros. Sobre los fuertes hombros se derrama el cabello, en crenchas lacias, rígidas y oscuras, que enlutan más aquel huraño aspecto; pupila prolongada que prolongó el acecho; dilatada nariz, y estrecha frente a que se ajusta, enhiesto, un erizado matorral de plumas de colores diversos, que parecen brotar de su cabeza, como brotan de un tronco los renuevos. Jamás mira de frente; jamás alza la voz, muere en silencio; jamás un signo de dolor se posa entre sus labios pálidos y gruesos. Ni aun el suplicio borra su ademán de desprecio; sólo el combate, en su fragor, arranca estridente alarido de su pecho. Entonces, semejantes a los colmillos del jaguar sediento, brillan, entre los labios taladrados, los dientes blancos, con horrible gesto. Son el hombre-charrúa, la sangre del desierto, la desgraciada estirpe que agoniza, sin hogar en la tierra ni el cielo.
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“Los Últimos Charruas”, Monumento Histórico Nacional ubicado en la Avenida Agustini, Montevideo – Uruguay.
El europeo por su parte, presentaba al indio como enemigo, cruel, brutal, salvaje, carente de sentido moral, inferior, componente de una raza vencida o a la que es preciso vencer. Entre otras cosas, los distinguía “el alarido de guerra de los charrúas, que atronaba los aires”. Un alarido que “impresionaba como el rugido de un monstruo mitológico”. Ese grito se asemejaba a un fortísimo silbido destemplado del “negro charrúa” o mirlo criollo, un pájaro de la vasta región de la cuenca del Plata. Llevaban a sus muertos a una elevación, a un cerro y los enterraban cuidadosamente bajo grandes piedras. Solían auto-herirse durante el duelo, el retiro y ayuno ritual. La lanza del muerto quedaba junto a la tumba, clavada en la tierra, apuntando al cielo. Adoraban la luna y eran individualistas: persistían en usar sus armas primitivas, y sentían pavor a las de fuego. Tenían una sabiduría yuyera milenaria. No sólo conocieron las propiedades curativas de las plantas sino que las domesticaron, creando verdaderas farmacias yuyeras. El ritual del mate es una herencia de un ritual charrúa. Para los charrúas la palabra era sagrada. Cuando un charrúa daba la palabra, la cumplía o moría. No eran antropófagos, de ahí que no habrían sido los que se devoraron a Juan Díaz de Solís.
El caballo fue el gran aliado de los charrúas, que aprendieron a amansarlos sin usar la fuerza. Se apoyaban en la lanza para saltar del suelo al caballo y de este al suelo con suma ligereza en lo más precipitado de la carrera; se echaban a un lado de la bestia ma nteniéndose ocultos en el cuello del caballo que parecía que corría solo y sin jinete. Finalmente, volaban, paraban, revolvían y hacían lo que parecía imposible. Vivían de la pesca, la caza y la recolección zafral de ciertos vegetales, además de huevos y probablemente de miel. Por otro lado, está absolutamente probado que fueron agricultores hasta que la persecución de los “bandeirantes” los obligó a ser totalmente gitanos. En otras palabras, fueron parias en su propio terruño, acorralados por la civilización. Para ellos todo fue odio y exterminio. Su tribu sólo vivió en paz guarecida en un rincón de la sierra hasta 1862. Eran seres descalzos que estaban más cerca de la naturaleza. Ese contacto con su terruño los identificó con el hombre del campo y de ahí su adhesión a Artigas para luchar junto al Jefe de los Orientales en pos de la independencia. Nada tan anónimo como el soldado de la independencia de la Banda Oriental. Difícilmente hubo quienes le prodigaron más sincera, entusiasta y sacrificada adhesión a
R ÚA S
ANCIENT WISDOM:
Translated from Spanish by Gladys Diaz
THE CHARRUA PEOPLE Despite ongoing studies being conducted, the origin of the most famous native people of Uruguay remains unknown. Juan Zorrilla de San Martin referred to as the “National Poet of Uruguay” in his poem “Tabaré”, depicted a Charrua indian and his love for the Spanish “blanca” (white woman): …Cruza el salvaje errante la soledad de la llanura inmensa, y el amarillo tigre, como él hosco, … (Read the poem in Spanish)
Artigas que la que encontró entre los indios a partir de 1812. Pero nada de eso fue suficiente para evitar que fueran abatidos en un holocausto iniciado en Salsipuedes. A principios de 1831, el General Fructuoso Rivera primer presidente electo en la novel República Oriental del Uruguay, llevaba algunos meses planeando en secreto una acción militar contra los charrúas. Impulsado y presionado por los hacendados y terratenientes del noroeste del territorio, que denunciaban la presencia de grupos seminómadas de indígenas en “sus” campos, Rivera decidió poner punto final al “problema charrúa”. En la próxima entrega, nos ocuparemos de la forma en que Rivera “solucionó” dicho problema en la llamada Matanza de Salsipuedes. ¡Felicidades! Por Nepo W. González Nepo Washington González nació en Montevideo, Uruguay, país en el cual se recibió de Director Técnico de Fútbol. En Australia obtuvo el título de intérprete y traductor otorgado por la NAATI y trabajó para SBS por más de 29 años. Como periodista, Nepo ha escrito cinco libros en español: Crónicas de Rincón de Pando (2008), Crónicas de Australia (2011), Entre La Tierra y el Infierno (2012), Su Majestad El Football (2014) y The King of Sport (2014) (con una guía para el Mundial 2014) en inglés.
Europe for its part, portrayed the Charrua people as enemy, cruel, brutal, and savage, devoid of moral sense, inferior, and part of a conquered race or belonging to one which must be overcome. Amongst other things, the Charrua were characterized by their powerful “war cry, which thundered through the air”; a yell “as impressive as the roar of a mythological monster”. That cry was like a strong intemperate whistle from a “black Charrua” or a blackbird, a bird found in the vast region of the Platine basin. They carried the dead to a high place, a hill where they carefully buried them under large stones. The Charruas self-injured themselves to express their grief during periods of mourning as well as during ritualistic retreats and fasting. The spear of the dead remained by the graveside, nailed to the ground, pointing to the sky. They worshiped the moon and were unconventional: they persisted in using their primitive weapons, and dreaded fire weaponry. They had an ancient “yuyera” wisdom (wisdom based on medicinal plants). They not only knew the healing properties of plants but they domesticated them – establishing real yuyera pharmacies. The custom of drinking “yerba mate” is a legacy of a Charrua ritual. When a Charrua gave his word, he complied or died; his word was sacred. They were not cannibalistic people, hence they would not have been those who devoured Juan Diaz de Solis. The horse was the Charruas’ greatest ally, who learned to tame without using force. They leaned on the spear to jump from the ground to their horse and from the horse to the ground with extreme lightness whilst galloping at full speed, they would move to the side of the horse’s neck and the horse appeared to be running alone, without a rider; the indians flew, stopped, turned and performed incredible maneuvers. They lived off the land, fishing, hunting and gathering seasonal plants as well as eggs and most likely honey. Furthermore, it has been proven that they farmed the land until fleeing persecution at the hands of the “bandeirantes” who forced them to become complete gypsies. In other words, they were outcasts in their own homeland, encroached by civilization in their own domain. For them everything meant hatred and extermination. The Charrua people lived in peace in a sheltered corner of the land only until 1862. They walked the land barefoot and lived hand in hand with nature. This bond with their homeland characterized them as country people and hence their alliance to Artigas to fight toward independence alongside the Head of the “Banda Oriental” (Eastern Bank [of the River Uruguay]). There had never been a more anonymous soldier than the one who fought in the independence with Banda Oriental; nor a more sincere, fervent and self-sacrificing allegiance to Artigas than that found among the Charrua people from 1812 onwards. But none of that was sufficient to avoid being slaughtered in a holocaust which began in Salsipuedes (Translated as “Get out if you can”). In early 1831, General Fructuoso Rivera, first elected president of the fledgling Oriental Republic of Uruguay, had spent a few months secretly planning military action against the Charruas. He was encouraged and pressured by ranchers and landowners from the northwest territory, who denounced the presence of semi-nomadic indigenous groups in their fields, Rivera decided to put an end to the “Charrua problem”. Next time we will discuss how Rivera “resolved the problem” in the so-called Slaughter of Salsipuedes.
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CAMPAMENTO
LATINOAMERICANO
ABANCAY
• Espacio para grandes y chicos • Música, bailes y danzas hasta que el cuerpo aguante …
Muchos visitantes latinos y de otras nacionalidades disfrutan la Semana Santa en “Abancay”, pues es un buen lugar para compartir esta época del año con amigos, familiares, y es perfecto para hacer nuevas amistades. En el campamento latinoamericano Fredy y Ada nos dan la bienvenida, una pareja de excelentes anfitriones que nos reciben con mucho calor humano y nos hacen sentir como en casa; ellos han puesto su empeño por aproximadamente 32 años para que los Latinos tengamos un fin se semana largo donde reencontrarnos y para que la gente que quiera contagiarse de nuestra música y bailes nos encuentre en Glenrowan, Vic. La música andina permea el área, los ritmos alegres y pegajosos penetran nuestro interior y no queda más que reír y bailar. Las callejuelas del campamento pintan los días con calor y deliciosos aromas del leño ardiendo en cada una de las fogatas familiares, además los olores de los asados y las sopas cocinándose al aire libre nos invitan a compartir nuestro vino. Los niños corren libremente por el campamento, siempre a la espera de la llegada del tren, que es un tren rustico que Fredy ha
construido para pasear a los chicos dentro del área del campamento; además hay muchas otras actividades para ellos durante el día; y en la noches los adultos disfrutamos de grupos musicales, DJs que nos invitan a bailar hasta que el cuerpo aguante. El campamento de Abancay nos ofrece unos bellos días de camaradería en los cuales disfrutamos de nuestras raíces con cientos de integrantes de la comunidad hispana y de la sociedad australiana. Abramos nuestros vinos y brindemos por el campamento Latinoamericano de Abancay y por sus anfitriones, Fredy, Ada y su familia; para que perseveren en este lindo proyecto de unión hispanoamericana - australiana. Sandra Molina Gutiérrez Nació en Colombia, estudió enfermería y trabajó en la Sala de Emergencias. Hace seis años emigró a Australia y ha realizado estudios en el Cuidado del Adulto Mayor y Cuidado de Deshabilitados, trabajando en este sector por más de 3 años. Actualmente trabaja en una compañía de estética y es parte de un subcomité de ‘Septiembre Latin Festival’.
LATIN AMERICAN CAMPING “ABANCAY” • An ideal place for adults and children • Great music to dance ‘till you drop… Many Latin American and foreign visitors enjoy the Easter break at “Abancay”, it is a great place to spend this time of year with friends, family, and it is ideal for making new friends. At the Latin American camping we are greeted by Fredy and Ada, excellent hosts who welcome us very warmly and make us feel at home. For approximately 32 years they have been working earnestly so that the Latin American community can enjoy a long and festive weekend meeting up with friends, it is also a place for those who simply want to be carried away by the sound of Latin American music and dances found in Glenrowan, Victoria. Andean music resonates throughout the camp site and we are carried away by its cheerful and catchy rhythms leaving us no other choice but to join in the laughter and dance. The narrow alleys of the camp site give warmth to the days and 40
Translated from Spanish by Gladys Diaz
the air is filled with a pleasant smell of burning wood emanating from the family camp fires; the scent of the flavours of barbeques and soups invite us to share our wine. Children run freely throughout the camp site, always waiting for the train, which is a simple train built by Fredy so that children can enjoy a ride in the camp area, there are also many other activities for the kids during the day; and in the evenings the adults enjoy live bands and DJs who invite us to dance ‘till you drop. The “Abancay” camp gives us some delightful days of friendship in which we enjoy our cultural roots together with hundreds of members of the Latin American and Australian communities. Let’s raise our glasses and give a toast to the “Abancay” camp and their hosts, Fredy, Ada and their family; so that they can continue with this wonderful project uniting the Latin American and Australian cultures.
Por Marta Torres
L A V A N R A C ida m co y ca si u m e, il ba de a ci n Abunda
• Todos bailan al ritmo de los tambores • Una forma de sobrevivencia cultural de los pueblos oprimidos • Tradición milenaria para disfrutarla en grande Este año tendremos CARNAVAL en el ‘September Latin Festival’, donde nos acompañarán grupos representando a distintos países latinos. Y, cuando pensamos en ‘carnaval’, nuestra mente se traslada a Rio de Janeiro, que tiene el carnaval más grande y famoso del mundo; y parece que ya escucháramos el vibrante sonido de los tambores y pitos, acompañados de filas interminables de grupos de bailarines, cada cual con disfraces más costosos, hermosos y llamativos, que nos invitan a seguir el ritmo. En América Latina el carnaval de Rio de Janeiro no es el único, también destacan el de Barranquilla, en Colombia, que es considerado el segundo a nivel mundial y Uruguay con su carnaval de 40 días consecutivos. Asimismo, están los carnavales de Bolivia, Perú, Panamá, Méjico y República Dominicana -por mencionar algunos países- que también tienen carnavales de relevancia internacional. Indagando un poco en la historia del carnaval nos remontamos a civilizaciones precristianas del tiempo de los sumerios y de los imperios egipcio y romano; pero sin duda es en la Edad Media donde cobra mayor relevancia debido a que los esclavos, traídos desde África, sólo tenían descanso el Viernes Santo1 y ese día hacían un carnaval donde festejaban sus creencias ancestrales con su música, sus bailes, comidas y bebidas en abundancia; reencontrándose con sus raíces y haciendo parodia de sus amos y autoridades. Parte de esta caricaturización es precisamente su nombre ‘carnaval’, palabra de origen latín ‘carnem levare’ que significa quitar la carne; por ende la carne era lo que más se comía el día del carnaval, oponiéndose así a la tradición cristiana. Se ha escrito mucho sobre el carnaval en la Edad Media y los autores coinciden en que todos participaban de esta festividad, los roles se invertían, la parodia ‘respetuosamente’ se burlaba de las autoridades, abundaba la comida y la bebida, los tambores no paraban de tocar y se bailaba sin descansar. En esta inversión de roles se veía al sacerdote se disfrazado de diablo, al esclavo con
trajes de gran señor y al rey vestido de esclavo. Se comía y bebía hasta que algunos quedaban intoxicados. Al día siguiente todo volvía a la realidad y los esclavos continuaban en sus arduas tareas de sol a sol, cansados físicamente, pero felices de haberse regocijado con lo suyo y a su manera; lo que les daba la energía y esperanzas hasta el próximo año. El resto de los participantes que también lograban escaparse de sus ataduras y rejuvenecían con su participación en el carnaval. Durante el periodo colonial en Latinoamérica y debido a la considerable exterminación de la población indígena, lo que se tradujo en la falta de mano de obra, comenzaron a llegar barcos con esclavos africanos, los que se vendieron por casi todo el continente. Sus amos continuaron con la costumbre europea de darles un día de descanso al año y los esclavos continuaron celebrando este día con un carnaval. Es así como el carnaval, desde sus orígenes, ha sido el instrumento de sobrevivencia cultural de los pueblos oprimidos. No sorprende entonces que en el carnaval de Oruro, Bolivia, sean los diablos los que le bailan a la Virgen; pues fue tal la represión de los indígenas debido a sus creencias durante los periodos de Conquista y Colonia, que para sobrevivir culturalmente, se incorporaron a las festividades religiosas a su manera, respetando con igualdad a sus divinidades de arriba y de abajo. Los países latinos que tuvieron mayor inmigración africana son precisamente los que tienen los carnavales de mayor renombre. Al comienzo fue únicamente celebrado por los africanos y sus descendientes; poco a poco se fueron sumando todos aquellos que se sentían oprimidos para liberarse y reencontrarse con sus raíces a través de la música, el baile y la comida. De esta manera todos pueden formar parte del carnaval. Si a esto le sumamos el contagioso ritmo del carnaval, nadie queda exento de disfrutarlo, por ende … ¡SEÑORAS Y SEÑORES! … todos invitados a disfrutar del … ‘SEPTEMBER LATIN FESTIVAL’
No todos los investigadores coinciden en que el Viernes Santo era el día de descanso anual de los esclavos; en todo caso, su día de descanso estaba relacionado con la tradición cristiana de la Cuaresma y Semana Santa.
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Translated from Spanish by Gladys Diaz
• Dancing to the beat of the drums • A cultural form of survival of the oppressed people • An ancient tradition to be celebrated by all. This year we are holding a CARNIVAL with our “September Latin Festival” where we will be joined by groups representing different Latin American countries. When we think of “carnival” our minds are transported to Rio de Janeiro - a city which has the largest and most famous carnival in the world. You can almost hear the lively sounds of whistles and drums, accompanied by endless ranks of dancers. Imagine the costumes becoming more expensive, beautiful and showy with each row that passes, as the dancers invite you to follow along with the rhythm The Rio de Janeiro carnival is not the only one in Latin America, there is also the carnival in Barranquilla, Colombia, which is considered to be the second largest in the world. Uruguay also has a carnival which goes on for 40 consecutive days. Similarly, there are carnivals of international importance held in Bolivia, Peru, Panama, Mexico and the Dominican Republic -to mention a few. Examining the history of carnivals within the pre-Christian civilisations we go as far back as the Sumerian civilisation and the Egyptian and Roman empires. However, it is in the period of the Middle Ages when carnivals became more significant. The slaves brought from Africa, were allowed to rest only on Good Friday1 and on that day they held a carnival to celebrate their ancestral beliefs accompanied by music, dance, food and drinks; rediscovering their heritage and making parodies of their masters and mocking the authorities. Part of this representation is inherent in the name “carnival”, a word of Latin origin “carnem levare” which means “to take away or remove meat”; and so meat was mostly eaten on the day of the carnival, thus opposing the Christian tradition. Much has been written about carnival celebrations in the Middle Ages and many authors agree that everybody participated in these festivities where social roles were reversed and the authorities were “respectfully” mocked. There was plenty of food and drink, the beat of the drums was unstoppable and 1
dancing continued until the late hours. In this reversal of roles the priest dressed up as the devil and the slaves as great lords, even the king disguised himself as a slave. They all ate and drank, some engaging in extremely heavy drinking. The next day everything returned back to normal and the slaves continued their exhausting tasks from dusk until dawn. They were physically tired, but were happy to have celebrated in their own particular way, this filled them with energy and hope until the following year. The other participants also managed to escape from their daily tasks and felt energised after taking part in the carnival. During the colonial expansion of Latin America, there was mass destruction of the communities of indigenous peoples, this gave rise to a decrease of manual labour. For this reason, ships began arriving with African slaves who were later sold throughout the entire continent. Their masters continued with the European custom of giving one day of rest per year and slaves continued to celebrate this day with a carnival. Since the beginning, carnival celebrations have been the instrument of cultural survival of oppressed peoples. Not surprisingly, in the carnival of Oruro in Bolivia, it is those dressed up as devils who perform a traditional dance for the Virgin. During the period of colonisation of Latin America, it was such the oppression of the indigenous people due to their different belief system that in order to survive culturally they took part in religious festivities in their own special way, manifesting equal respect to their gods above and below. The Latin American countries which had the greatest African immigration are precisely those with the most renowned carnivals. At first, carnivals were only held by Africans and their descendants; gradually they incorporated all those who felt oppressed and needed to free themselves and reconnect with their heritage through music, dance and food. In this way everyone can be part of a fantastic celebration with its vibrant and contagious rhythms, no one can miss out on having a great time, so… Ladies and Gentlemen! You are all invited to join the … “September Latin Festival!”
Not all researchers agree that Good Friday was the day of rest for slaves; in any case, their day off was related to the Christian tradition of Lent and Easter. 43
POR UNA VIDA MÁS DIGNA:
Por Marta Torres
AYUDANDO A AYUDAR
El Hogar de Cristo acoge con amor y dignidad a los más pobres entre los pobres, para ampliar sus oportunidades a una vida mejor. Los Amigos del Hogar de Cristo Melbourne, a través de los años y, gracias al constante apoyo de miembros de la comunidad latinoamericana han logrado ayudar en los siguientes programas en el Hogar de Cristo: Fundación Paréntesis, Fundación Súmate (Becas), Fondo Esperanza (Micro-Créditos para feriantes del Cerro Los Placeres), Programa Arkataña, Hogar de Niñas en riesgo social “Anita Cruchaga”, Hogar de niños de Buin y en Valparaíso con programas para el adulto mayor, construcción de sede del Hogar de Cristo en Curepto; lugar que fue afectado después del terremoto. Asimismo, nuestro aporte ha llegado a los damnificados del incendio de Valparaíso, aluvión del Norte y otras catástrofes que han ocurrido en los últimos años. También mantenemos un apoyo constante a nuestra querida Sala de Enfermos Terminales “Padre Hurtado”, que cuenta con veinte y dos camas, y que atiende aproximadamente a treinta personas al mes, que ingresan a nuestra Sala, pues han sido dados de alta de los hospitales y no cuentan con una casa y una red de apoyo familiar. Aquí se les entregan todos los cuidados biológicos, psicológicos, sociales y espirituales, hasta el momento de su muerte. Nuestra labor finaliza otorgándoles servicios funerarios y sagrada sepultura, financiado por Fundación Hogar de Cristo. Agradecemos el apoyo de nuestra comunidad y los invitamos a que continúen apoyándonos, para que estas personas puedan ser atendidas y reciban alivio a su sufrimiento con dignidad. “No descansen, mientras haya un dolor que mitigar”. Padre Alberto Hurtado. 44
José Paredes ha ayudando a distintos grupos comunitarios por más de 40 años en Melbourne y él es uno de los voluntarios de los Amigos del Hogar de Cristo. “Yo creo que nací para ayudar al prójimo”, señala. En el Hogar de Cristo hace de todo y donde se necesite ayuda, allí está él. “Puedo reemplazar desde el jefe hasta el barredor y ahora para el ‘September Latin Festival’ me comprometí a asar 400 kilos de costillar de chancho”, indica José. En octubre del año 2014 viajó a Chile y visitó la Sala de Enfermos Terminales del Hogar de Cristo. “Quedé muy impresionado con la labor que realiza el voluntariado con los enfermos, especialmente con los estudiantes de medicina que van a entregar su tiempo y sus conocimientos para ayudar a los enfermos”, dice Paredes. José también nos cuenta que a comienzos del año pasado y por razones económicas, la Sala de Enfermos Terminales estaba en peligro de cerrar. “Entonces nos pusimos a buscar socios que aportaran $10 mensuales y nos comprometimos a enviar $1.000 mensuales, para que así la Sala siga funcionando”. Tarea que cumplen el día 15 de cada mes. “Nosotros, los Amigos del Hogar de Cristo, hacemos frecuentemente almuerzos para reunir fondos, porque también ayudamos a otros de los programas que ellos tienen y todos nos pagamos nuestro propio almuerzo, que previamente hemos comprado todos los ingredientes necesarios, y lo hemos cocinado”, nos informa José. Lo mismo ocurre con las rifas, ellos donan los premios y todos compran números. “Resulta chistoso –indica José- pero es así”. ‘Es muy lindo el trabajo que desarrolla el Hogar de Cristo”, finaliza José. Si usted está interesado/a en participar de las actividades o hacerse socio de los Amigos del Hogar de Cristo, de Melbourne, visite la página: http://hogarde-cristo.blogspot.com.au Las personas que se benefician de las obras del Hogar de Cristo necesitan su ayuda, pues son los más pobres entre los pobres.
FOR A MORE DIGNIFIED LIFE: HELPING THE HELPERS
Translated from Spanish by Jacqueline Skewes
The Hogar de Cristo association welcomes the poorest of the poor with love and dignity, in order to expand their beneficiaries’ opportunities for a better life.
Over the years and thanks to the constant support of members of the Latin American community, the Friends of Hogar de Cristo in Melbourne have succeeded in helping the following Hogar de Cristo programs: Fundación Paréntesis, Fundación Súmate (scholarships), Fondo Esperanza (providing microcredit to traders in Cerro Los Placeres), Programa Arkataña, the “Anita Cruchaga” orphanage for children at social risk, orphanages in Buin and Valparaíso with older adult programs, and the construction of offices for Hogar de Cristo in Curepto - a location that had previously been affected by earthquakes. Likewise, contributions from our association have reached victims affected by the Valparaiso fires, floods in the North and casualties of the other catastrophes that have occurred in recent years. We also provide constant support to our beloved hospice for patients with terminal illnesses “Padre Hurtado”. It holds twenty-two beds, and takes care of approximately thirty people each month. These clients enter our hospice after being discharged from hospital at a time when they cannot count on having a home or family network to support them. At our hospice they are provided with all the care they need up to the moment of their death, including all medical, psychological, social and spiritual comfort. One final labour we offer is to grant them funeral services and burial on sacred ground, all of which is financed by the Hogar de Cristo Foundation. We would like to express our gratitude to the community for your support, and invite you to continue supporting us. Doing so will ensure that those in need can be looked after and that they continue to receive relief from their suffering with dignity. “Take no rest while there is yet pain that can be eased.” Father Alberto Hurtado.
José Paredes has been helping various community groups in Melbourne for more than 40 years and he is one of the volunteers at the Friends of Hogar de Cristo. “I think I was born so that I could help my neighbours,” he noted. He is a jack of all trades at the Hogar de Cristo and wherever help is needed, there he is. “I can assist with anything, from filling in as the boss to doing the sweeping. I’ve just committed to roasting 400 kilos of pork ribs for the ‘September Latin Festival’,” Jose pointed out. In October 2014 he travelled to Chile where he visited the Hogar de Cristo hospice for patients with terminal illnesses. “I was struck by the work being done by volunteers for the patients, especially that by medical students who were donating their time and knowledge to help those who were ill,” said Paredes. José also recounted that early last year the hospice for patients with terminal illnesses was in danger of closing due to economic reasons. “So we dedicated ourselves to finding members who could contribute $10 monthly, and we pledged to send the hospice $1,000 each and every month. That way the hospice could continue to operate.” The fundraising activities must be completed by the 15th of each month. “We, the Friends of the Hogar de Cristo, regularly host fundraising lunches. We do it so we can provide assistance to other programs as well. We each pay for our own lunch, even though we have already purchased all the necessary ingredients, and cooked the lunches ourselves,” Jose explained. The same thing happens with raffles – the volunteers donate the prizes and each of them then buys tickets. “It might sound strange,” José noted, “but that’s how it is.” “The work done to develop the Hogar de Cristo is lovely,” concludes José. If you are interested in participating in any of the activities or becoming a member of the Friends of Hogar de Cristo in Melbourne, please visit our website: http:// hogar-de-cristo.blogspot.com.au As the poorest of the poor, the people who benefit from the work of Hogar de Cristo really do need your help.
Richie el nuevo dueño del restaurant La Bohemia nos invita a deleitarnos con la cocina chilena El restaurant ‘La Bohemia’ ubicado en Princes Hwy, Noble Park, cambio de dueño. Ricardo o ‘Richie’, como lo llaman sus amigos, es el nuevo dueño, nació en Chile y llegó a Australia a los cuatro años. “Siempre estuvo en mi mente la idea de tener un restaurant, seguramente porque me encanta la buena mesa” asegura Richie. “Un día vine con mi familia a almorzar aquí y nos encantó la comida” indica Richie. Al poco tiempo después se enteró que vendían el negocio y pensó que era la oportunidad de cumplir uno de sus sueños. “Este restaurant cumple con todo lo que yo quería: buena reputación y comida muy rica”, señala Richie. Muy pronto ‘La Bohemia’ extenderá sus horarios de atención al público y continuará deleitándonos con la exquisita cocina chilena, la buena música y la excelente atención que ofrece Richie. Desde ya quedan invitados a degustar los variados platos y postres de ‘La Bohemia’ junto a los vinos de primera calidad.
LaBohemiaCafe
@la_bohemia_cafe
Shop 6, 497 Princes Highway, Noble Park 3174
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AYUDA PARA EL ADULTO MAYOR:
VENTANA HISPANA Ventana Hispana (Spanish Window) Inc., es una organización creada el 8 de enero del 2008, ya que Prodela había cerrado y Celas estaba al otro lado de la ciudad; y, los ancianos y personas que no hablaban inglés no podían llegar allá. Ventana Hispana es una organización comunitaria sin fines de lucro que provee asistencia social, cultural, información y oportunidades de aprendizaje, para promover la armonía y participación del hispano-hablante en la comunidad de Victoria La organización está compuesta de voluntarios que otorgan su tiempo para ayudar a la gente que necesita una palabra de consuelo en tiempos arduos, que son más difíciles cuando la familia no está alrededor o las personas están aisladas debido al idioma, la cultura o el diario vivir. Tenemos el constante apoyo de Southern Migrant & Refugee Centre, en el que estamos ubicados desde el año 2008 (Victorian Multicultural Commission), en City of Greater Dandenong. Trabajamos junto al “Australian Filipino Community Services” en un programa llamado ‘Amigos Para Siempre’, donde aprendemos y compartimos con otras culturas. Durante estos años hemos representado a la comunidad Hispana en muchas reuniones y seminarios, dándole a conocer al gobierno y a otras organizaciones que existimos, que tenemos gente capacitada, con conocimiento para ayudarnos y que estamos conscientes de nuestras necesidades; pues somos aptos de crear programas que están directamente relacionados con nuestras necesidades. Fuimos la primera comunidad que enseñó computación en nuestra propia lengua. Actualmente proveemos oportunidades de educación a los miembros de la comunidad en cursos como el cuidado del adulto mayor, Certificado III (Age care). Muchos voluntarios fueron mandados al Chisholm Institute a obtener el Certificado I en manipulación de alimentos, y a realizar cursos de inglés a distintos niveles. El último año se proveyó cursos con K&M training; Certificado III y IV en el cuidado del Adulto Mayor y Certificado IV en Salud y Recreación. Muchas de las personas que hicieron esos cursos están trabajando ahora. Nosotros les ayudamos a encontrar trabajo escribiendo recomendaciones y guiando a los interesados para que obtengan las habilidades necesarias para el trabajo al que aspiran. Para mayor información llame a Lucy: 0422 657 121 Correo electrónico:
[email protected] 46
THIRD AGE WELFARE
Por Lucy Salinas
VENTANA HISPANA (SPANISH WINDOW) Ventana Hispana (Spanish Window) Inc. is an organization founded on the 8th of January 2008 as Prodela (Latin American Association of Community Development and Welfare Services) closed down and Celas (the Footscray-based Spanish Latin American Welfare Centre) was located in the western suburbs where the elderly and non-English speaking clients from the eastern side of Melbourne were unable to attend due to distance constraints. Ventana Hispana (Spanish Window) Inc. is a not for profit community organisation that provides welfare, social and cultural support, as well as information and learning opportunities to promote harmony and participation of the Spanishspeaking community in Victoria. The organisation is run by volunteers who give their time to help people in need of a word of comfort during difficult times and who find it challenging when family members are not around; it gives support to those who are isolated because of language, culture and daily life routine. We have the continued support of Southern Migrant & Refugee Centre, where we are located since 2008 (Victorian Multicultural Commission) in the City of Greater Dandenong. We are in partnership with the “Australian-Filipino Community Services” in a program called “Amigos Para Siempre” (Friends for Ever) where we learn and interact with other cultures. Throughout recent years we have represented the Spanishspeaking community in several meetings and workshops, making the government and other organization aware of our strong presence and demonstrating that we have skilled people with knowledge to help us and that we are aware of our needs, because we are capable of creating programs that are directly related to those needs. We were the first community centre that taught computing in our own language. Currently, we provided training opportunities for members of the community in courses such as Pathway to Aged Care, Aged Care, and Aged Care Certificate III. A number of volunteers obtained Certificate I in Food Handling at Chisholm Institute and English courses at different levels. Last year we provided learning opportunities with K&M Training for students who completed Certificate III in Aged Care, Certificate IV in Aged Care and Certificate IV in Leisure and Health. Most of the students who completed these courses are currently employed. We help people find employment by providing referrals and guiding them to obtain the necessary skills. For further information please contact Lucy on 0422 657 121 Email
[email protected]