The Sixth Version Of The Panza De Oro Festival Arrives

The Panza de Oro poetry festival is an event managed by La Ubre Amarga and the Yerba Mala Cartonera publishing house, and promoted by the Area de Letras of the mARTadero project. It was born in 2014, as a result of the interest in strengthening the literary exchange that has developed in the last decade between Chile, Peru and Bolivia, and maintains a close relationship with another festival of similar nature in the region: the Tea Party (Arica , Chile / Tacna, Peru), in charge of the Cinosargo publishing label.
Both projects involve a critical reading of the past that these countries share, but, above all, they question the centralist tendency that characterizes them, in terms of political decisions and concentration of artistic-cultural activity in their respective capitals. Reasons why the intention to rethink the territory and address the possibilities offered by a management linked to the idea of ​​border, would end up acquiring a special importance within its guidelines.


In the case of Panza de Oro, these conditions were finding new edges before themselves and defined the basis on which the festival would work. On the one hand, exploring and putting into practice, year after year, different financing strategies sustained in collaboration and self-management logics. And on the other, when deciding a displacement of most of its program to sectors of the population that, within the organic of the cities, are usually considered, likewise, bordering.
Thus, prisons, psychiatric, audiological institute, blindness institute and public schools were invited to be part of a project that, far from the manic speech of inclusion, bets on an extended interpretation of the margin, close to the restrictions of the nation / territory State and criticism against the apathy of the capital zones in relation to their province but, in addition, as an invitation to address the communicative possibility of the word. And to this, deployed as a poetic device outside its usual edge.


In this way, and close to celebrating its sixth version, the Panza de Oro has managed to become an experience both for those who join as guests and for the institutions that are an active part of it, and that from the beginning have been willing to encourage openness and struggle, through the poem.
Special mention should be made of the hundred authors, not only of the area that motivated the origin of the festival, but also of Argentina, Colombia, Mexico, Uruguay and Venezuela that, knowing the particularities of this proposal, have been encouraged to be part of their processes and their actions.
Y aquí, sin duda, otra de las características del Panza. Es decir, sus invitados. La confluencia generacional que se plantea con tal de desdibujar la cota etaria y que ha permitido contar con la presencia de poetas como Raúl Zurita (Chile, 1950), Norah Zapata (Bolivia, 1946) y, en esta ocasión, Elvira Hernández (Chile, 1951), compartiendo con destacadas voces jóvenes, como Guillermina Sartor (Uruguay, 1995), Vicente Oyarzún (Chile, 1992) o, también en esta oportunidad, Lucía Carvalho (Bolivia, 1993).
Now, curiously, this inclination to work close to the edge has led the festival to raise its own expiration date. Your own limits Without this entailing any negative connotation. Rather, perhaps with the intention of diminishing the importance of the imaginary of the perennial and of evidencing the right to be over any responsibility. Especially, before those assumed on their own.


Therefore, the week of October 8 to 11, the penultimate version of a festival will be held that this time will be attended by: Sebastián Goyeneche (Argentina), Francisco Cardemil (Chile), (Bolivia), Fernando Van de Wingard (Chile), Alejandro Herrera (Colombia), Isidora Vicencio (Chile), Diana Gutierrez (Colombia), Victor Quezada (Chile) and Elvira Hernández (Chile). And that will contemplate readings, conversations and presentations of books, for general public in: project mARTadero, Co-Café, LaLibre, Tambo and Jazz Stop.
The idea of ​​confinement and pollution, then, demanded over the years. The celebration of the anomaly and suspicion, in front of all types of centers.  

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