Pearls from artists* # 385
Potosí, Bolivia
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Sunday of Carnival, the parade begins. For a whole day of celebration in music and dance, people can express their hope and fears, revive their myths and escape to a reality far from everyday life.
Thousands of spectators arrive from different parts if Bolivia and other countries. Filling the streets, they straddle benches, window ledges, balconies, cats and eve hang from walls or roofs to witness the entrance of the Carnival. Thus is the magnificent parade when Carnival makes its official entry into Oruro. The comparsas (dance troupes) dance to music for20 blocks, nearly eight lies, to the Church of the Virgin of Socavón (Virgin of the Mine). Each tries to out do the next in the brilliance of their costumes, the energy of their dancing and the power of their music. All their efforts are dedicated to the Virgin whose shrine is found on the hill called Pie de Gallo.
If there are thousands of spectators, there are also thousands of dancers from the city and other parts of the country. Among the most remarkable are the Diablos and Morenos which count for eight of the 40 or 50 participating groups. Keeping in mind that the smallest troupes have between 30 and 50 embers and the largest between 200 and 300, it is possible to calculate the number of dancers and imagine the spectacle.
… Each dance recalls a particular aspect of life in the Andes. Lifted from different periods and places, the dances offer a rich interpretation of historical events, creating an imaginative mythology for Oruro.
… Carnival blends indigenous beliefs and rituals with those introduced by the Spaniards. Both systems of belief have undergone transformations, each making allowance for the other, either through necessity or familiarity. The Christianity fought from Europe becomes loaded with new meanings while the myths and customs of the Andes accommodate their language and creativity to the reality of their conquered world. The process can be seen as a struggle culminating in a ‘mestizaje’ or new cultural mix.
El Carnaval de Oruro by Manuel Vargas in Mascaras de los Andes Bolivianos, Editorial Quipus and Banco Mercantil
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Q: What’s on the easel today?
Work in progress
A: I’m slowly working on a small, 20” x 26,” pastel painting. The tentative title is “Majordomo,” although I’m searching for something better.
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Pearls from artists* # 384
Overlooking Copacabana, Bolivia and Lake Titicaca
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Carnival in Oruro [Bolivia] is a glorious spectacle. It’s flash, pomp and brilliance can be enjoyed without understanding its long history and intricate mythologies. Still, the onlooker is left with a thousand questions that are not so easily answered. Behind the glitter of Carnival lie the history, the timeless myths and the distinct traditions of this mining community.
According to the Spanish writer Jean Laude, “The function of the mask is to reaffirm, at regular intervals, the truth and presence of myths in everyday life.” This suggests that masks should be studied in context, noting their association with the individual dancer and the history, myths and traditions of the community that produces them. The mask has to be animated within its ritual, comic or social role.
A first step in appreciating the masks is to understand something of the land and people that crafted them. Oruro is a mining city on the open Altiplano at 3,700 meters (12,144 ft.) above sea level. The sky appears a rarified blue, it is intensely cold and a constant wind lifts dust to the eyes. During the year no more than 125,000 people live in the city. Suddenly in the weeks of Carnival, the population doubles or triples.
Three languages, Quechua, Aymara, and Spanish are spoken in Oruro. Their use reflects an ancient pattern of conquest in the history of this land. It is said that the Urus, whose language is now almost lost, were the first inhabitants. In time they were dominated by the Aymara tribes. Later, Quechua was introduced as the Inca advanced their empire from Cuzco. Ultimately the Spanish arrived and founded the present city in 1601 to exploit rich mineral deposits found in the seven hills.
Today, descendants of the Urus live near Oruro around the shore of Lake Poopo. Elements of their distinctive culture remain but they have no wealth in comparison with the more dominant Aymara and Quechua who surround them. A further change came in the recent past because Oruro has acted as a magnet, attracting many people from the countryside to work in the mines.
On one side were the Urus, ancient owners of all the land which now only carries their name (Uro Uro = Oruro). On the other side were the miners, many of whom were Quechua and Aymara migrants. In the middle is “Carnival.”
El Carnaval de Oruro by Manuel Vargas in Mascaras de los Andes Bolivianos, Editorial Quipus and Banco Mercantil
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Top Facebook posts for 2019
December was a busy month! Here are the most-liked 2019 posts – all dated December – from my Facebook fan page. Please join a worldwide audience of 48,000 people who follow my work at https://facebook.com/BarbaraRachko. Thank you for your support!
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Top Instagram Posts for 2019
New Year’s Day is almost here so I decided to depart from the usual. Here are my most popular images posted on Instagram in 2019.
With Jenny Holzer – she’s waiving hello – at Rockefeller Center
Photo: Izzy Nova
Photo: Izzy Nova
Photo: Izzy Nova
More than 49,000 now!
Please consider following my work at https://Instagram.com/barbararachko_artist.
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Q: What do you do when you are feeling undervalued and/or misunderstood as a visual artist?
On a favorite walk
A: After more than three decades as a professional artist, I wish I could say this rarely happens, but that’s not the case. People say dumb things to artists all the time and I’m no exception. Often I tune it out, remembering the title of a terrific book by Hugh MacLeod called, “Ignore Everybody and 39 Other Keys to Creativity.” Come to think of it, it’s time for a re-read of Hugh’s wise book.
But ignoring people is not always possible. So I might take a break from the studio, go for a long walk along the Hudson River, compose photographs, think about what’s bothering me, and try to refocus and remember all the positive things that art-making has brought to my life. I always feel better after this simple ritual.
Here’s another helpful quote that I read recently and try to remember:
‘’An artist cannot fail; it is a success to be one.” – Charles Cooley
I wonder, what do you do?
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Pearls from artists* # 383
“Sentinels,” Soft Pastel on Sandpaper, 38” x 58” image, 50” x 70” framed
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
… I mean to say that a work of art is a gift. The gifted artist contains the vitality of his gift within the work, and thereby makes it valuable to others. Furthermore, works we come to treasure are those which transmit that vitality and revive the soul. Such works circulate among us as reservoirs of available life, what Whitman calls “the tasteless water of souls.”
Lewis Hyde in The Gift: Imagination and the Erotic Life of Property
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Travel photo of the month*
Southampton, NY
* Favorite travel photos that have not yet appeared in this blog.
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