“(...) El lugar de la palabra en Chanco fue algo que nos removió desde un comienzo. Durante las primeras semanas de trabajo en el territorio, nos encontramos con discursos que se posicionaban en respuesta a la acción institucional de la comuna; este solía ser muy similar y pocas variaciones sufría de una boca a otra, era como escuchar una grabación, ya sabías lo que venía. Encontrar la diferencia en sus discursos fue algo difícil en un principio, pero poco a poco, con la confianza que depositaron l@s chanquin@s en nosotras y en los diferentes dispositivos de la residencia (programa de teatro radial, contar y compartir historias en plazoletas, el cartero del museo de los secretos, nave de historias, entre otros) fuimos logrando aproximarnos cada vez más a ese mundo que pocas veces se dejaba ver. A ese mundo que era creado por l@s chanquin@s y que, pese a las resistencias de los sectores religiosos e institucionales, se trata de un mundo que sigue dando vueltas de boca en boca, produciendo diferencias y creando realidades que sospechamos, jamás se agotarán.
Comprendimos que aquel mundo no aparecía ante la pregunta directa, las resistencias eran muy grandes. Pero a través de la exploración sobre nuevas formas de decir, surgió un lugar seguro para comunicar, en donde el lenguaje artístico que propiciaba la residencia y sus dispositivos, consistió en un estímulo para que l@s vecin@s compartieran. Ellos tomaron protagonismo y marcaron la pauta del devenir de la residencia, en donde reconocieron el valor de sus experiencias e historias locales, y la relevancia de compartirlo con otr@s.
¿Qué es lo que comunican sus historias? Las incertezas se producían continuamente, parte fundamental de las historias es que se desconocían las formas que iba a tomar cada una. Algunas partían hace más de 100 años en el campo chanquino, pasaban de boca en boca entre ríos y caminos, el protagonista de la historia a ratos era Raúl o tal vez Sandra, no se sabía si era el chascón o un caballo, pero nadie negaba que se escuchaba por las noches, ¿o era al mediodía? Tampoco se sabe qué es lo que esconden todas esas historias, qué están contando, si son fantasías o efectivamente representan realidades tan difíciles de contar, que sólo desde la ficción son capaces de elaborar. Probablemente las opciones son múltiples, y estas son sólo unas pocas que se nos vienen a la mente. Algo que estaba claro era que había un montón de historias que contar y que la palabra adquiría una connotación distinta. Era accesible, no había un lugar de experto y siempre hay algo que se puede compartir. De ello daban cuenta l@s niñ@s del sector rural, quienes sirvieron de ejemplo para el resto de los participantes sobra la infinidad de formas en que es posible narrar, dando el empujón para que otros se atrevieran.”
(Paulina Martínez y Bernardita García, https://bitacoraresidencias.cultura.gob.cl/chanquins-a-escena-algunas-incertezas/)
Proyecto de arte y procesos sociales desarrollado en el marco de las Residencias de Arte Colaborativo del Programa Red Cultura, Subsecretaría de la Cultura y las Artes (Chile).
Con la colaboración de Bernardita García.
Chanco, Región del Maule, Chile.
2018.
“(...) The place of the word in Chanco was something that removed us from the beginning. During the first weeks of work in the territory, we found speeches that were positioned in response to the institutional action in the locality; This used to be very similar and few variations suffered from one mouth to another, it was like listening to a recording, you already knew what was coming. Finding the difference in their speeches was somewhat difficult at first, but little by little, with the confidence that the chanquin@s placed in us and in the different devices of the residence (radio theater program, telling and sharing stories in small playgrounds, the postman of the museum of secrets, ship of stories, among others) we were getting closer and closer to that world that was rarely seen. To that world that was created by the chanquin@s and that, despite the resistance of the religious and institutional sectors, it is a world that continues to turn around mouth by mouth, producing differences and creating realities that we suspect will never exhaust.
We understood that this world did not appear after the direct question, the resistance was too high. But through the exploration of new ways of saying, a safe place to communicate emerged, where the artistic language fostered by the residence and its devices consisted in a stimulus for the neighbors to share. They took center stage and set the tone for the future of the residence, where they recognized the value of their experiences and local stories, and the relevance of sharing it with others.
What do their stories communicate? The uncertainties occurred continuously, a fundamental part of the stories is that the forms that each one would take were unknown. Some started more than 100 years ago in the Chanco´s countryside, passed from mouth to mouth between rivers and roads, the protagonist of the story at times was Raúl or perhaps Sandra, it was not known if it was the chascón or a horse, but nobody denied that was heard at night, or was it at noon? Nor is it known what all these stories are hiding, what they are telling, if they are fantasies or indeed they represent realities so difficult to tell, that only from fiction are they capable of elaborating. The options are probably multiple, and these are just a few that come to mind. Something that was clear was that there were a lot of stories to tell and that the word had a different connotation. It was accessible, there was no expert place and there is always something to share. This was reported by the children of the rural sector, who served as an example for the rest of the participants about the infinity of ways in which it is possible to narrate, giving the push for others to dare.” (Paulina Martínez and Bernardita García,
https://bitacoraresidencias.cultura.gob.cl/chanquins-a-escena-algunas-incertezas/)
Social practice developed within the framework of the Collaborative Art Residences, Programa Red Cultura, Subsecretaría de la Cultura y las Artes (Chile).
With the collaboration of Bernardita García.
Chanco, Maule Region, Chile.
2018.
Comprendimos que aquel mundo no aparecía ante la pregunta directa, las resistencias eran muy grandes. Pero a través de la exploración sobre nuevas formas de decir, surgió un lugar seguro para comunicar, en donde el lenguaje artístico que propiciaba la residencia y sus dispositivos, consistió en un estímulo para que l@s vecin@s compartieran. Ellos tomaron protagonismo y marcaron la pauta del devenir de la residencia, en donde reconocieron el valor de sus experiencias e historias locales, y la relevancia de compartirlo con otr@s.
¿Qué es lo que comunican sus historias? Las incertezas se producían continuamente, parte fundamental de las historias es que se desconocían las formas que iba a tomar cada una. Algunas partían hace más de 100 años en el campo chanquino, pasaban de boca en boca entre ríos y caminos, el protagonista de la historia a ratos era Raúl o tal vez Sandra, no se sabía si era el chascón o un caballo, pero nadie negaba que se escuchaba por las noches, ¿o era al mediodía? Tampoco se sabe qué es lo que esconden todas esas historias, qué están contando, si son fantasías o efectivamente representan realidades tan difíciles de contar, que sólo desde la ficción son capaces de elaborar. Probablemente las opciones son múltiples, y estas son sólo unas pocas que se nos vienen a la mente. Algo que estaba claro era que había un montón de historias que contar y que la palabra adquiría una connotación distinta. Era accesible, no había un lugar de experto y siempre hay algo que se puede compartir. De ello daban cuenta l@s niñ@s del sector rural, quienes sirvieron de ejemplo para el resto de los participantes sobra la infinidad de formas en que es posible narrar, dando el empujón para que otros se atrevieran.”
(Paulina Martínez y Bernardita García, https://bitacoraresidencias.cultura.gob.cl/chanquins-a-escena-algunas-incertezas/)
Proyecto de arte y procesos sociales desarrollado en el marco de las Residencias de Arte Colaborativo del Programa Red Cultura, Subsecretaría de la Cultura y las Artes (Chile).
Con la colaboración de Bernardita García.
Chanco, Región del Maule, Chile.
2018.
“(...) The place of the word in Chanco was something that removed us from the beginning. During the first weeks of work in the territory, we found speeches that were positioned in response to the institutional action in the locality; This used to be very similar and few variations suffered from one mouth to another, it was like listening to a recording, you already knew what was coming. Finding the difference in their speeches was somewhat difficult at first, but little by little, with the confidence that the chanquin@s placed in us and in the different devices of the residence (radio theater program, telling and sharing stories in small playgrounds, the postman of the museum of secrets, ship of stories, among others) we were getting closer and closer to that world that was rarely seen. To that world that was created by the chanquin@s and that, despite the resistance of the religious and institutional sectors, it is a world that continues to turn around mouth by mouth, producing differences and creating realities that we suspect will never exhaust.
We understood that this world did not appear after the direct question, the resistance was too high. But through the exploration of new ways of saying, a safe place to communicate emerged, where the artistic language fostered by the residence and its devices consisted in a stimulus for the neighbors to share. They took center stage and set the tone for the future of the residence, where they recognized the value of their experiences and local stories, and the relevance of sharing it with others.
What do their stories communicate? The uncertainties occurred continuously, a fundamental part of the stories is that the forms that each one would take were unknown. Some started more than 100 years ago in the Chanco´s countryside, passed from mouth to mouth between rivers and roads, the protagonist of the story at times was Raúl or perhaps Sandra, it was not known if it was the chascón or a horse, but nobody denied that was heard at night, or was it at noon? Nor is it known what all these stories are hiding, what they are telling, if they are fantasies or indeed they represent realities so difficult to tell, that only from fiction are they capable of elaborating. The options are probably multiple, and these are just a few that come to mind. Something that was clear was that there were a lot of stories to tell and that the word had a different connotation. It was accessible, there was no expert place and there is always something to share. This was reported by the children of the rural sector, who served as an example for the rest of the participants about the infinity of ways in which it is possible to narrate, giving the push for others to dare.” (Paulina Martínez and Bernardita García,
https://bitacoraresidencias.cultura.gob.cl/chanquins-a-escena-algunas-incertezas/)
Social practice developed within the framework of the Collaborative Art Residences, Programa Red Cultura, Subsecretaría de la Cultura y las Artes (Chile).
With the collaboration of Bernardita García.
Chanco, Maule Region, Chile.
2018.
Bitácoras residencia / Fieldnotes residency