Nasa Yuwe
home Weavers
by Natalia Marcet
Liliana Alzate. Actress. Teachers. Colombian
I met in Cali.
I had spoken of it Ricardo Ruiz Angulo, a former pupil of La Candelaria. With her mythical shared study days.
Then I crossed in Bogota, and then again in Cali.
Being in the Teatro La Mascara, waiting to go to the airport, going, I said "I would answer a few questions about your job?
I had seen while arming with Daniel, the Technical Chamber, the start of FAT, the workshops that are taught at the Chamber: weaving, theater, yoga for children, mothers ... people from all vulnerable sectors of the Valle Del Cauca.
knew this work and the other developed by the Corporación Colombiana de Teatro in Bogotá, as well as by Ines Salazar in Medellín and the other partner in Barranquilla, is part of a project sponsored and supported by Magdalena Norway, led by Geddy Aniksdaal. (Of these works discuss the coming months)
and Scrolling.
Your resume says
Actress, researcher and theater director, Master of the Universidad del Valle in Colombia and Latin American Literature 2010. Meritorious thesis. Specialization the University of Rosario in Bogotá in theory and theater critic 1992-1994, BA in art education Forest University 1999 - 2003 . He currently serves as an actress and researcher in the group stage Mask of Cali since 2006 . has been teaching the arts faculty of the University of Valle 2006-2009. And currently teaching high school department of Fine Arts until l to date.
had also seen action in ugly women, led by Lucy Bolaños in MAP Theater, as part of Women on Stage Festival, organized by the Corporación Colombiana de Teatro.
Then, the questions had answers.
1 .- With that working population?
currently in theater Mask develops a project with vulnerable groups, addressing human rights issues, gender, discrimination, etc., with various groups. Those are mine are, for example, a neighborhood youth Siloam (Sector outskirts of the city), aged between 7 and 18. And in this sector this year I work as a pilot mobile school. Five of them are already working with me two years ago, so with them we have convened two groups: a young child and another where they replicate what they have learned the methodology is the collective creation and this semester the Forum Theatre of Augusto invisible Boal, who had the pleasure of being in Rio de Janeiro in 2000 in an experiment on the EITALC (theatrical school American and Caribbean)
With them we work in the community in two specific sectors, THE STAR, a sports high up in the neighborhood, in a somewhat dangerous area where gangs and drug abuse abound in the streets, and in a communal house in the half of the small sector. Together from time to time. By this end of semester get together on stage all trying to tie up the process for submission in February in a popular festival that marks the end of the project in the Mask.
The other group that I have are the women weavers of origin Yuwe Nasa (indigenous community in southern Colombia) that have attempted, with the help of the indigenous council Cali, recover the lost memory of these women who go with their daughters and grandchildren to the games. With them we are working on their rituals and historical figures, and the importance of tissue in the construction of feminine thought Yuwe Nasa.
Finally I have another group of young African descent in another suburb of Cali, where the majority of its black community is the amount of forced displacement that has prevailed in the country especially from the Colombian Pacific coast. With them just started working a few months ago, and they are part of an NGO, open workshop, working with them on several fronts including training and has a firm order cultural. With this group I'm working the black oral tradition in his memory are also looking for family, music and narration to regain their youth contexts. They and they particularly want to work on gender violence.
2 .- How does the stage for the transformation of personal life?
This question for me is about believing that the theater is basically a healing tool, rather than just an aesthetic or artistic product. Specifically in the social drama is a cornerstone for the transformation of high-risk communities and socially sensitive situations, such as moral, physical and spiritual. The Theatre of the Oppressed techniques are tools that I have found conducive to this because their techniques are based on the study interactive scenes that simulate reality and role playing. A staging follows a phase of analysis and collective dialogue on how to resolve conflict situations presented. The starting point is to discover the creative impulse and intuitive to the person to put in the service of the theatrical creation of the group through exercises and theater games to develop imagination and creativity, create emotional openness and receptivity on the other sensory and for the other. Building a way to use the scene that evidently transformed their lives and conflicts. Can not find economic solutions to their problems, but if a bunch of options, exits to get a better quality of life. More respect for herself and those around her. Finally theater awareness to participants and public actors and their application is as a means of intervention, transformation of social reality and consciousness. Remains a small revolution in itself and that encourages other mode of expression beyond words. The limitations of the human being can be released through the theatrical image and sound, which promotes an understanding of conflict situations and characters of the community in which it is lodged.
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