Japan Train Grope 2010

The storytellers of today in La Guajira, San Andres and Providencia and El Choco.

Abstract: This paper briefly describes the story today written by women in La Guajira, San Andrés y Providencia and El Chocó. Suggests, also, the names of three narrators who deserve the attention of readers inside and outside their regions and within and outside the country: Lollia Pomare, Vicenta Siosi and Estercilia Simanca.
The rich oral tradition of these three departments of Colombia does not allow questions about the importance of art in them count. However, judging by the marked absence of the authors from these regions in most Colombian story anthologies, denounced the lack of awareness in the country about the variety of stories that are written in such departments.
This paper briefly describes the current crop of genre story in these regions, particularly the story written by women, and suggested the names of three narrators whose works deserve attention from readers inside and outside their regions and country: Lollia Pomare, Vicenta Siosi and Estercilia Simanca.
This work focuses on the authors who live in their respective departments and who have published at least one book of short stories between 2000 and 2007. The visit to the capitals of the departments studied allowed the gathering of materials in public libraries and private libraries, houses of culture and Joint Funds for the Promotion of Arts and Culture. (1) In addition to reviewing the printed material available, the visits allowed to consult on the matter to writers, critics, promoters of culture, college and university professors and locals without any employment relationship with literature. Importantly, there was agreement among those consulted about who were the storytellers of each region.
The ignorance of the existence of the short story, in La Guajira and San Andrés and Providencia and El Chocó, as elsewhere in the country, have contributed several extra-literary circumstances, including lack of institutional support for the publication of books of short stories, a certain arbitrariness in the management of programs that encourage literary production, absence of local and national libraries proposed distribution of literature from these regions and, finally, with regard to cultural policies, lack of copies of this literature in local and national libraries. Such factors have made it very difficult reading, dissemination and study of literary production of regional authors and hampered the already precarious circulation Nationwide them.
In the literary output of women writers add further difficulties. Several authors point out as an obstacle the fear of censorship, especially by men partners. The double (and triple) working hours of women remains a major obstacle to devote himself to writing, in general, cite lack of time as the main cause of their poor literary production. In the case of the authors of La Guajira, they added that in her department this problem is exacerbated because the Wayuu culture assigns much more work for women than men and makes women even more to the custody of the boys community. Another impediment to mention both authors and authors of these three regions is the fear of political consequences, even for their lives, if their reports of the disgraceful conditions in which they live their communities. Despite these and other adverse circumstances to writing, at this time women in La Guajira and San Andrés y Providencia write and publish stories, not in El Chocó.

In La Guajira La Guajira, the two volumes of the anthology criticism made by Victor Bravo Mendoza, Stories Generic guajiros authors (1989) and Tales of peasants authors (1992) are a reference to the status of gender in the decade of the eighties and nineties. Some of the authors included here have been published subsequently storybooks. Among them: Vicenta Siosi, The sweet heart of the copper skin (2002), Abel Medina, Amazing land of the yolujás (1999) and Polish Rosado, Guanebucanes Tales (1997).
It is worth mentioning some personal and institutional initiatives have contributed to the culture of gender, among these we have the Departmental Competition tale of La Guajira, Tell a Story, made in 2002, the creation of workshops that encourage creative writing , although its emphasis has focused on poetry such as "Solar," "Dreamcatcher" and "Songs of Julia" and the work of cultural magazines Rancheria, and Arte y Parte Journal of the University of La Guajira. It is worth mentioning the systematic work of Victor Bravo Mendoza in promoting the story and in literary creation. Apart from his work as a storyteller, poet and critic, he must be a radio to the promotion of literature and literary workshops address many, among them that of the Guajira RENATA (National Network of Creative Writing Workshops) gave as one of its consequences the publication of the first volume of short stories in 2007.
Most books published by women reflects poetry, some of these authors are Altagracia Carrillo Vega, Poetry for All Ages (1999); Suanny Cerchar Solano, Absence, seed from oblivion (2000) and Maria Teresa Hinojosa, a life made poems (2004). Of creative writing workshops "El Solar" and "Dreamcatcher" the authors who have spread over his writings are Solenys Herrera, When no gender gap (2004), Betsy Barros, La Guajira in verse (2003), Belgium Quintana Marquez, Selene Romero and Lindantonella Solano. (2) Often the writers of La Guajira is linked to teaching and research, as is the case of Vicenta Siosi, Verenitce Selene Romero and pepper. In all there is a clear concern for the social, economic, political and cultural department.
appear in story Island names of authors who have been included in anthologies, including Mary Daza, (3) Maria Lorena Fernandez, Tatiana Britto González, Liliana Escobar Díaz, Belgium Quintana Marquez and Alba Vega Amaya. The last two were winners of the Short Story Competition Department of La Guajira in 2002. There are two widely recognized authors with only a book of short stories each, their stories have been reproduced in collections department storytellers themselves: Vicenta Siosi and Estercilia Simanca. Although many media, read and studied in schools and colleges in La Guajira, brought to the stage and commented on by their own authorities in the frequent invitations to educational institutions receiving in the region. Vicenta
Siosi Pino is the author of eight stories in one volume, The sweet heart of the copper skin, published in 2002 under the auspices of the Joint Fund for the Promotion of Culture and Arts of La Guajira. (4) These stories show different attitudes of indigenous Wayuu or their descendants to their own culture and to the interaction of cultures arijunas with no Wayuu. (5) The stories are told from the questioning eyes of women, children and animals. In the story's title volume, Wach, Wayuu a child of twelve, upon entering the school learns that although the indigenous world is mocked by his colleagues, also raises enormous curiosity in some of them. Three of these companions embark on a secret trip to a village Wayuu, but the community arijuna assumed that infants were abducted by the Indians. The report denounces the ignorance, disrespect and absurd display of power by arijunas to the Wayuu community. The end of the story is very encouraging, as children figure in the possibility of a change of attitude and a future arijunas of respectful coexistence. An optimistic view is also prevalent in "Mrs. Iguana" story winner of the National fairytale, Atlantic Comfamiliar 2002. Here again, from the mediation of children, it is possible coexistence friendly and happy between beings of different origin, in this case, including garden animals and humans. The respectful use of the epithet 'lady' for female representatives of the two groups makes the condition of equality between them. In this story, an iguana convinces humans of the right that she too has to sunbathing, playing and living, as expressed in the letter addressed to Mrs. Josefa: "I want kids to get sunburned and walk them through the gaps sucking the aroma of cherries after rain while listening to the music of the birds. Please do not kill me "(93). Siosi
Another story, "That horrible habit to get away from you," also deals misunderstanding, but this time, misunderstanding that displays a girl Wayuu alienated from their own culture. Here a mother goes to the town Wayuu his little daughter (which is not known) to be left in a house arijuna where "educate and teach good manners", as expressed by the mother. After years of suffering and assimilation, the girl rejects his ancestral community and the world yearns arijuna expelled. Unlike this story, in "The loophole proud of my heritage," a descendant Wayuu tells the story of their indigenous ancestors, but from the proud assertion of their ancestry, especially of powerful female figures in his clan.

I have not listen to the birds of the world "is the most restrained and lyrical tales of Vicenta Siosi. In this, a girl of nineteen Wayuu remembers his childhood and puberty in girls beautiful and full of illusions, and contrasts this time with when living, married to a man much older than her, with his three children, sick, an existence marked by hunger that "tighten with three hands and steals the light from their eyes" (98) . From this reflection, the girl questions the rigid laws Wayuu women do not allow any decision about his marriage and his destiny, I lay in a chinchorrito and saw the full moon lighting the sandy roads of La Guajira and I saw that night, still in mourning, bring her light and I thought good things, but the moon also illuminated my blanket and my fingernails ragged eaten away by dirt. And I heard the faceless voice whisper that is ugly and the abyss of heat rose in there. Before starting the fire went to the house out of town and asked the arijuna a mirror. Stubble hair sunburnt, blackened skin, mouth, face, and eyes infinitely sad in nineteen rains experienced. I ran with all my strength / And running away from who? Of law, I said, she already made use of you said a flock of buzzards and ran more and he ran remembered glad I do not pick cherries, nor had he heard again the world's birds singing in the dawn of the Wayuu and clutching his chest pain I was sure he had died the night half a century a man fell on me (103).
This story also shows the ignorance of and arijunas have on the lives of the Wayuu, as evidenced by the following passage: One day God told me arijuna woman did not stop more and I did not know how not deliver more, but I said nothing, never said anything. When was the third baby I lost the second tooth and said arijuna pairs have much money so much and did not say anything because if I had money I would have bought a red gas know what was or would prove a ball of chocolate. (102) Wayuu
world is also the main reference in the accounts of Estercilia Simanca Pushaina. His stories have been resefiados in Cuatrogatos, El Colombiano, El Tiempo, Journal of Family Com Magazine Fundalectura Atlantic. In one of his most famous, titled "Is not able to sign. Born: December 31," from the unsuspecting eyes of a young Indian, shows disrespect, the abuse and exploitation of indigenous Wayuu are subjected by the politicians. The narrator sees the hypocrisy and absurdity of the political maneuvers of arijunas. This story, which in 2004 was winner of Metropolitan National Tale of the Universidad Metropolitana de Barranquilla, takes its title from alienating practices imposed by the Colombian government to the Wayuu community. Such disregard the individuality of indigenous figure in the personal name, the name that points to the maternal clan they belong to and date of birth of each. In the rush to schedular to the Indians to become voters, officials from the National Registry declare them all "born on December 31" and unable to sign his name. The mockery of arijunas to the Wayuu is also obvious in the gross rename practice to call in many cases, with terms ridicule: All my family was a long row along with other people who came from other villages to receive a card plastic card they called. Were the same as they had taken a week before the . That day I learned that my uncle was called Tarzan Tanko Pushaina Cotes, [...] that dike was called Cosita Rica, [...] who was John F. Anuwachón Kennedy, who was named head [...], Ashaneish quoted called Alka-Seltzer (43).
disrespect another way of observing the narrator is the seductive behavior and sometimes abusive toward indigenous women candidates. She shows disturbed by the kiss he received from one of these candidates, "I remember that kiss took my sleep for many moons. That moment was repeated in my mind over and over again while trying to sleep in my hammock, wanted Mr. Candidate back and kissed me again, but not did. not even looked at me when we went to the big house "(42). The narrator's emotional distress due to the expectations we have about a possible romance with 'Mr Candidate', resembles the conflicts faced by the community to see betrayed the trust placed in the promises of politicians.
Another well-known story is Simanca Estercilia "The closure of a small girl," a finalist in the 2003 National Short Story Competition Kids Comfamiliar Atlantic Fundalectura nominated and included in 2006 in the honor roll of IBBY (International Book Committee for Youth). This story is told from the perspective of a young woman passing Wayuu confinement, ancient custom to enclose and hide the women of the tribe to begin their reproductive years. In this period the girls are trained by other women in the community in the tasks that correspond to them once they are taken in marriage, such as weaving, grinding corn, preparing chicha and meet her husband sexually. In the story, learning of the fabric is made possible by the appearance Waleket dreams of the weaver. In all the tales of Estercilia Simanca exalts the role of dreams to guide the actions of the Wayuu. All stories also end with an epilogue that reviews the events from the perspective of the protagonist - now adults - who relates to others, probably children, their experiences as a member of the Wayuu community. This procedure enhances the educational dimension narrative ancestral story.

By: Patiño Mejia, Ana MercedesPublication: Colombian Literature Studies Date: Sunday, July

January 2007

Were To Buy Morton Tender Quick In Canada

Aesthetics and Poetics in Contemporary Indigenous Literature

By: Jorge Miguel Cocom Pech
(For Web of Prometheus) Over the past thirty
and three years, twenty-eight of the last century to the present, is seen in Mexico, mainly the Southeast-the beginning of a process of literary writing in indigenous languages, certainly, in other regions, in parallel, this effort had been working similarly. The genres that will be expressed as poetry, fiction, drama and, to a lesser extent, the test.
This process of the emergence of literary texts in indigenous languages \u200b\u200bcould be possible, because continuity is initiated in the states of Oaxaca and Yucatan in the decades of the forties and fifties of last century, in which bilingual teachers began narrative writing and poetry in their native languages, though, later, continued to write works in the genres of essay and drama.
But long before the first information that we realized that there was literature from indigenous cultures and languages, we came across books that were written as a result of the literacy crusade to initiate José Vasconcelos in the twenties, the decade Home Cultural Missions toured the country's most remote communities with the ultimate purpose of teaching reading and writing and to disseminate the artistic aspects of Mexico, and those who came from the West. Lure at that time, emerge in Campeche, texts of Juan de la Cabada, Ramon Pinto and Elsie Berzunza Encarnación Medina, Antonio Mediz Bolio, Ermilo Abreu Gomez, in Yucatan, Andres Henestrosa, which incidentally has just died, Gabriel López Chiñas, Pancho Shell Nazario Pineda Chacón, Víctor de la Cruz, among others, to name a solar writers Oaxaca.
Moreover, in the Nahuatl language is worthy appraise the work undertaken by the teacher Librado Silva Galeana, Marcos Matias Alonso, Natalio Hernández, to name a few.
With this plethora of beautiful writers produced texts. Between us Peninsular Maya, who can not remember the story of the dwarf realizes Uxmal pyramid makes its own after defeating the king of that city, cleared the Mayan epic into English by Antonio Mediz Bolio? Is not it fascinating to wander, hand in hand for the characters, the stories "The men who broke up the dance" of Andrés Henestrosa, poet and storyteller Zapotec?
O, do not we launch a deeper meditation and calms our soul, to hear,
"... Never be proud of the fruits of your intelligence. Only you own the effort you put into your crop, what is possible, nothing else you're a spectator. Intelligence is like the arrow: once moves away from the arc, and no one governs. His flight depends on your strength, but also the wind and, why not say it, the fate that walks up behind her ... "
fragment of the small but magnificent book" Canek "Don knew Ermilo snatch Abreu Gómez our ancestors who passed down orally Maya heroic hero, from generation to generation?
However, these efforts to preserve from the spelling of English accounts of our oral tradition, some would call the specialist, the folk literature, through the oral tradition was continued by transmitting a set of stories, advice, statements, spells and ceremonies that today constitute the wellspring crystal where poets, novelists, playwrights and essayists watering of its original source and then transposed to the English language in the literary genres.
But, one might ask, persist in the writing of new literary texts of indigenous origin, in this case Maya, its original beauty, it being understood, unpublished images, internal orchestration of verse, backed by the potential vocabulary and idioms both in the indigenous language as the target language?
To answer that question, we take into account the following: 1) if those who study and analyze a literary text written in, say, poetry and do not know the native language, knowing only English-language literary mandatory, the trial will be able to issue a partial and incomplete because it only reads and just compensation in a language, 2) by elsewhere, but if someone who knows the grammatical properties, potential vocabulary, idioms, speak and write in the native language, but also knows the same about the English language, is likely to give us a complete picture about the origin, structure and use of literary devices applied in the text.
thirty-three years now, and with a vast collection of works published in several books, dissemination and distribution which occurs in the states and the capital of the republic, few of these books can be found, as the English language, the use of literary language and, I doubt that in the native language can be well written. Of course, all this is their honorable exceptions. One of them, it is the work of Briceida Cuevas, who in Aesthetic, contemporary Mayan melodic line, I take care to analyze and discuss their poems, from figures of speech, elements that were not all together constitute the poetic corpus of Western rhetoric, that is, the absence of poetry in our Mesoamerican languages, although, in truth, is very possible that there are other writers with the same features and profiles.
I note that, writing this essay, I kept a research and consultation process through various documentary sources both my country and abroad. Once elected
the subject, was reviewing other literary texts written in indigenous languages \u200b\u200bof Mexico, and Latin, which was intended to locate and analyze minimal and basic elements of policy formulation, while theories that were consulted were related to contemporary poetics, of course, very different from the original principles established by Aristotle. How
would have satisfied me read the works in their native languages! However, for unknown-with the exception of the Mayan language of the speaker-I only had to stick to the texts translated in English as, "warn" them I have a reading and a partial, yet this limitation I found in reading and textual analysis of poetry and narrative, certain levels of writing, not to put it another way, apart from one another. One of them, perhaps the most noticeable is the use of expressive resources that encourage their development and construction "aesthetics." Counted poets, quoted below, are meant for knowledge and mastery of the English language, applied in the translation of their texts, they show their literary skill, especially in the poems written in free verse, writing dominant structure of most texts of poetry in indigenous languages, in others, their poverty is very evident in vocabulary and syntax, of course, is no stranger to us, one of the avant-garde trends, says that writing poetry texts, the poet is free to use no punctuation or grammar, among other purposes, but not the only ones-is that the text can be read and understood in many ways. Undoubtedly
despite the rejection that writers in indigenous languages \u200b\u200bthat are not worth studying and applying rules that seek to create beauty in the writing of poetry and narrative, a view which fortunately is not widespread. According to this view, "one as a poet or narrator stops writing as the largest and is influenced by Western culture, away from the prodigious influence of oral tradition, the original grain." Hence, to avoid and writing as "the other" that has imposed its language and culture, is estimated not clinging to the canons of Western literary prescriptive, but to preserve the writing "as we are told or we heard of the biggest, heirs to the ancient oral tradition. " And I was
thinking, perhaps in the last 50 years, from our indigenous languages, there was oral poetry? Well, when you hear the talks and the stories of the grandparents, "it is clear," the text relates to Western poetry has been heard in school, I believe that in our language there are ways that cause aesthetic delight of spirit to hear them, as the poems with rhythm and traditional metrics in the English language. Only our own, contemporary indigenous literature, still lacks a set of "rules? that, according to their prosodic systems, metrics, lexical and semantic may become a proposal for writing texts, if not perfect aesthetic, but containing the minimum elements that move to their target, whether or not speakers of indigenous languages, but that, hearing them from their translation into the target language, perceive the presence of resources lexicons, euphonic, metaphorically, can appraise it, who wrote, is a word artist, be it poet or narrator.
No, I can not imagine that contemporary Indian literature, that just is written in Mexico and America, and is starting to be admired by readers of the Western world, just be fruitful by the inspiration of the Muses and other nonsense that we inherited from the bohemian romanticism. In particular, and I could be wrong, I think in the study of literary theory and other disciplines related to the production of literary texts, because it allows us to rediscover in ours, the potential and the exuberance of their expressive resources, lexical and semantic do exist in our native languages, but you have to make an effort to locate and work with them in moments of creation. Hence, I do not think that we should not dismiss the study of poetic production outside of our poetry in indigenous languages.
So I think that knowing how to write a poem with aesthetic resources, from the western world not hinder, but enhances the contemporary Indian literary proposal, it originated from the seed of the oral tradition, as well as texts that are safeguarded counted for five centuries, despite the imposition of European culture and language.
Today, writers in indigenous languages \u200b\u200bare the result of a powerful transfiguration of languages \u200b\u200bthat coexist with others in the process of becoming multicultural interaction. However, the challenge is that, writing poetry or narrative, keep our language and cultural roots, to create literary texts in our language without losing its wealth and its aesthetic possibilities, in my opinion are many unpublished.
For example, writers in indigenous languages \u200b\u200bof North America, written in English poems or stories in that language, but keep alive the world view inherited from their ancestors. In America, fortunately, still thanks to the persistence of languages \u200b\u200bthat preceded the arrival of Europeans, is written literature in indigenous languages. This is the case of poets Elikura Chihualilaf, Leonel Lienlaf, Mapuche of Chile. An exception is the Metokosho Rita writes poems in their original language, the Inuit still spoken in Canada. And, if not a lot of my ignorance, it is possible that in the northern part of our America, have other poets who write in their languages vernacular.
But back to topic, I know some of my fellow writers in indigenous languages \u200b\u200bdo not share with me that we should necessarily hold to the discursive practices of an accident, but is it that we can write poetry or stories in indigenous languages, while remaining isolated from other proposals literary? Do not haiku is related to the brief poetic statements with which we spoke our ancestors? Or are you the profound and poetic of the Sioux chief Letter addressed to the President of the United States, refusing to sell their lands to settlers, there is a strong ecological defense of Mother Earth, threatened yesterday and say that even today, who sought and seek to predators? Does the poetry in the texts of the poet king Nezahualcoyotl, there is also a sign of the philosophical depth of the representative of a culture that also cared for questioning by the pain of knowing powerless against the finitude of existence? Well, these are just some examples of writing with philosophical and aesthetic features with our pre-Hispanic people walked through their concerns through discursive practices that we should add to our experience of writing poetry and / or narrative in Indian languages.
After then, we the writers in indigenous languages of America or the world, continue writing aesthetic texts without the awareness of the need to create or establish a poetic, if not general for all languages, but each of them?
share the concern and opinion of Juan Gregorio Regino, Mazatec poet, in an informal conversation, I said that Mexico still writers in indigenous languages \u200b\u200bhave not written a literary representative to collect the components of universality, because it necessarily passes grasp the full mastery of the expressive resources of the mother tongue language and its translation to the target language. Then, then, why the absence yet this work? The answer may be that we need to learn what components are required to do so. I dare say that those who most have approached this work are universal in nature poets and Elikura Humberto Ak'abal Chihuailaf, of course without neglecting the literary proposals two Mexican poets, Briceida Cuevas Cob, poet Maya of Mexico and Irma Pineda, Zapotec poet, also in the narrative genre, called attention to the texts, including "Is not knowing how to write" of Estercilia Simanca, Wayuu of Colombia and The Last Death of Nicolas Huet, writer Maya language Tzotzil. Texts in where there is a technique and craft in his writing, but require more effort stylistic, but why not recognize that their voices are in the vicinity of the ancient word to his natural idiom in which intermingle metaphors and other resources of poetry in their native languages. I would say that these findings are biased because, as a reader, and I had only read the version in English. I think the same about those who do not know writing in indigenous languages \u200b\u200band recently started working on a fledgling literary criticism to poetry and narrative texts in original languages.
without departing from the subject we are dealing with our stay at this University, commented that at the end of last year the Universidad Javeriana of Colombia assigned me the task of conducting a thesis related to the work of Humberto Ak'abal, a blueprint for obtaining a masters degree from John Sánchez and is not speaking an indigenous language, but Ak'abal's work has motivated him to reflect on his literary achievements, from its relationship with oral intertextuality and contemporary writing.
So, after reading the proposed rule and sustaining a master's degree in literature "Contemporary Indian Poetry: Memory and invention in the poetry of Humberto Ak'abal ", I wondered, to what extent the Western poetry can respond to the characteristics of contemporary poetry in indigenous languages? Is it perhaps impertinent this exercise? What, then, the reception of contemporary Indian poetry from the people themselves and how it impacts their non-Indian readers? How to sign up, then, within the Mesoamerican literary tradition? Do they get re-indigenous writers update the literature of the past in their current work?
The answer to these questions is given by Juan Sanchez in the introductory chapter of his thesis when states that "I was tempted to do this research without the explicit involvement of non-indigenous critics and theorists. The idea of \u200b\u200ba job with only the voice of indigenous intellectuals seemed appropriate, the traditional categories of literary studies seemed distant, hegemonic, exclusive. He believed, therefore, only from their own categories of indigenous thought I should read these texts. However, I soon realized on the naivete of my company could not deny my background and my reading. The dialogue was what he was after, not excluding the reverse. In addition, it opened my Ak'abal eyes, (because) his poetry was inserted into a tradition that was not only indigenous and therefore expected a reception not only Indian. From these questions, along this research we will hear the voice of Western critics and canonical as well as indigenous intellectuals, perhaps little known, but equally lucid. What follows is an account of the theoretical sources and the historical circumstances that accompany my comments and interpretations. " Thereupon
, is useful for writers in indigenous languages, dealing with the study and knowledge of literary figures, from the wide repertoire of rhetoric and applicable to the discursive practices with which we try to make literature in our native languages? Therefore, in this search and possible development of aesthetics in our vernacular, in the short to medium term, consider of vital importance that the Indian writer knows and applies, in the creation of literary texts, writing the alphabet aesthetic . Only in this way, maybe not his unique condition, we will be able to offer over time, the universal work that so worries Juan Gregorio Regino, and other writers in indigenous languages, such as a server, we want to make a mark in literature of Mexico and America. Hence, it is necessary at present to overcome the fear of being contaminated by the influence of other literatures outside ours that impoverish over and dominate, enrich our proposals literary omen exists that cultural diversity can become the herald of a new era for Indian literature.

My Fingers Have Gone Numb And White

"Manifest not know how to sign" Born: December 31 KAREN PAULINE