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Q: Can you briefly explain how the Bolivian Carnival masks you depict in your work are used?

Museum of Ethnography and Folklore, La Paz, Bolivia

Museum of Ethnography and Folklore, La Paz, Bolivia

A:  The masks depict important figures from Bolivian folklore traditions and are used in Carnival celebrations in the town of Oruro.  Carnival occurs every year in late February or early March.  I had hoped to visit again this year, but political instability in Bolivia made a trip too risky.

Carnival in Oruro revolves around three great dances.  The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532.  “The Morenada” music and dance style from the Bolivian Andes was possibly inspired by the suffering of African slaves brought to work in the silver mines of Potosi.  The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins.  Lucifer was disguised in seven different masks derived from medieval Christian symbols aor totemic animals that became nd mostly devoid of pre-Columbian elements (except that became attached to Christianity after the Conquest).  Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.

Comments are welcome!  

Pearls from artists* # 177

Barbara's studio

Barbara’s studio

* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

Everyone but a lunatic has a reason for what he does.  Yes, in that sense I am a determinist.  But I believe, with Kant, that the mind is self-determined.  That is, I believe intensely in the creative freedom of the mind.  That is indeed absolutely essential to man’s security in a chaotic world of change.  He is faced all the time with unique complex problems.  To sum them up for action is an act of creative imagination.  He fits the different elements together in a coherent whole and invents a rational act to deal with it.  He requires to be free, he requires his independence and solitude of mind, he requires his freedom of mind and imagination.  Free will is another matter – it is a term, or rather a contradiction in terms, which leads to continual trouble.  The will is never free – it is always attached to an object, a purpose.  It is simply the engine in the car – it can’t steer.  It is the mind, the reason, the imagination that steers.

Joyce Carey in The Paris Review Interviews:  Writers at work 1st Series, edited and with an introduction by Malcolm Cowley

Comments are welcome!

Pearls from artists* # 84

My Alexandria living room

My Alexandria living room

* 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 have a stockpile of sculptures, paintings, and drawings – every work of art I have made that has not sold – in a storage space for which I pay every month as regularly as I pay my utility bills.  This is a sensible arrangement, as I can leave this work to my children.  Most of the time I never give it a thought, but this morning it flashed across my mind that if it were blown away I would be bereaved in a way that would hurt me very much.  I have not been inordinately materialistic, but I am attached to my house, to my inherited belongings, and to the things that I have chosen for myself.  All these objects add complexity to my emotional ties to people with whom I have shared, and share, my life, and to my aspirations for myself.

Anne Truitt in Turn:  The Journal of an Artist 

Comments are welcome!

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