tatiana de la tierra is in Mexico now, celebrating the publication of her newest chapbook (which i can't wait to see), but while she's there, she posted on La Bloga the essay in form of a letter I sent her when I returned from Barrancabermeja in May.
In Barrancabermeja, Colombia you don't
have to moisturize, there's so much petroleum in the air. They bathed your brow
in oil... goes a line from the city's own anthem (to be sung at public events
following the national anthem, and the himno of the departmento de Santander)
and they say nothing happens here without the permission of Ecopetrol, the
state-controlled oil company, (though the degree of control can be questioned as
each aspect of oil extraction and refining and shipping in Colombia seems to
have its own financial structure with the Colombian government owning shares
here and there and transnational corporations controlling projects and then
there are the shares sold to the public so that it remains a great mystery who
is really in charge of anything). Nevertheless I guess I would not have found
myself in Barranca if Ecopetrol had not given its blessing to the Primer
Festival Internacional de Teatro por la Paz.
Tatiana, you wanted to know how it went for me in tu tierra, in a part of tu
tierra where you have never been, and still overwhelmed by everything I saw and
heard and experienced during the past two weeks (May 20-30, 2011), I am trying
to organize my thoughts enough to tell you.
Before I left for Colombia, all I knew (from the internet) was that Barrancabermeja was infamous for massacres, disappearances, street battles between guerrilla armies and rightwing paramilitaries, oppressive heat and humidity, characteristic odor, and
mosquitoes carrying chloroquine-resistant malaria. How did such a place--which
only recently got its first movie theatre open to the public--become the site of
an International Theatre Festival for Peace and where did I get the thoroughly
presumptuous idea I could lead writing workshops there in Spanish?
So let me introduce you to: Yolanda Consejo Vargas, dancer and theatre artist born
in Mexico, and her husband Italian-born director Guido Ripamonti. In 2007, they
found themselves in Barranca, in the low-income neighborhood, Comuna 7, and
there they found a community that had organized itself to resist violence and
oppression. They saw the people of Comuna 7 reweaving the social fabric that had
been shredded during years of terror and trauma, people committed to healing
social wounds, educating their children for social responsibility and for peace.
Inspired, Yolanda and Guido moved in and decided to stay. They began offering
classes in theatre and literature and dance and more as well as training their
students to go into primary schools to share what they'd learned.
A year ago, Yolanda had the idea that the Centro Cultural Horizonte
Ciudadela Educativa should organize an international festival. Artists from
around the world would present performances and also teach. There would be
activists and academics offering presentations and discussion groups, everything
open free to the public, everything aimed at advancing a culture of peace. Out
went the invitations, riding through the ether on little more than faith. The
acceptances came in: from all over Colombia, from Mexico (so many in fact that
some of us began to refer to Barrancaberméxico), from Venezuela, from Argentina
and Chile, from France and Italy and Germany and Israel, from an Iranian exile
in Canada, from my frequent collaborator Hector Aristizábal (Colombian living
here in the US), and from me. Hotels offered rooms for the international
visitors. Social organizations such as the Corporación de desarrollo y paz del
magdaleno medio and of course Ecopetrol pledged support. Lacking a theatre
space, Yolanda and Guido had a huge tent--one that could accommodate 800
people--set up on the lawn in between the city's one library and the university. The university, the policlínica, the teacher's college, the high school, the vocational training institute offered auditoriums and classrooms for the lectures, workshops and conferences.
Such an event had never before been seen in Barrancabermeja. Not that the city lacks culture. Barranca attracts people from all over the country who arrive seeking work and they bring their music--their cumbias and vallenatos--and cuisine and local traditions with them.
I've rarely met people as open and friendly and kind. All over town, people gave
us a warm welcome, delighted that foreigners would visit not for oil but for
art. Musicians from Atlántico invited me and Chilean performance artist Andrea
Lagos (one of my roommates) to ride with them on the back of their open truck as
they headed off to parade with other groups through town. The parade started off
from a spot near the monument to Padre Camilo Torres, the guerrilla priest who
fell in combat the first time he went into battle alongside the ELN. I read his
words: "LA CONSTANTE LUCHA REVOLUCIONARIA DEL PUEBLO, NOS LLEVARA A LA V... DE LA VICTORIA" as children played on the sloping metal of the sculpture and turned it into a slide, and I wondered at the tacit approval of Ecopetrol. Could the
monument stand without it?
Monument or no monument, the army and police are in firm control of Barrancabermeja. Security is tight. Tatiana, I know you don't like to hear about violence, but I need to refer to the killings that took place in Comuna 7, about the 20 families still waiting to know what happened to their loved ones who were taken away and disappeared in 1998, still waiting as a priest put it, to recover the "huesitos." And I refer to that and to the years of violence that followed because while I was in Comuna 7, I saw
people out strolling late at night, riding bicycles, sitting outside cooking, eating, drinking with friends, living normal lives, unafraid. Terror continues, however, in the countryside with car bombs and firefights and where small farmers and other civilians continue to be driven from their land and their homes.
But enough about violence. Do you know the slogan of the city that's posted
everywhere? Barrancabermeja--Donde el Amor es Clave.
And I was supposed to be writing about theatre. With 50 shows, I couldn't see them all and regret I don't have space to mention all I did see. Grupo Norte Sur from the Reynosa-Tamaulipas area of Mexico presented a stunning version of Macbeth--one of the most powerful productions I've ever seen. The opening and closing scenes were realistic
depictions of the terror now unfolding in those communities. Director Medardo
Treviño created indelible images, German Expressionism in style, for the rest of
the production. The play began at 1:00 AM and ended at 3:00 AM and was
absolutely worth staying up for. The young people from the Centro Cultural
Horizonte offered the premiere of Préludio, directed and choreographed by
Yolanda, an often breathtaking, intensely physical and imagistic vision of their
world. All week they'd been helping out, waiting on everyone hand and foot, and
suddenly they revealed themselves onstage as gods and goddesses, as did my
roommate Andrea. Another young group, Teatro Encarte from El Peñol outside of
Medellín, gave a performance--Voces del Barrio--with so much impact they were
almost immediately offered a booking in Mexico, the first time these kids will
travel outside of their own country.
Somehow, my workshops worked. For three hours every morning I had a
wonderful mix of children, college students, curious adults from the community,
and teachers all of whom had their own reasons for wanting to learn techniques
for getting people to write when they think they can't. Everyone was patient
with my bad Spanish and with my difficulties in understanding them, especially
when my ears were still clogged from the flight.
I had such a wonderful and inspiring time. Barranca's bad reputation is undeserved. The heat was not as oppressive and suffocating as the internet had me believe. The climate is tropical, but with compañer@s I walked comfortably for hours from one end of the city to another. I enjoyed the breeze that blew through the chalupa traveling the
Magdalena River up to Puerto Wilches and back. I had assumed that rooms would,
at best, have ceiling fans, but air conditioning was not uncommon. The smell
from the refinery seemed less noticeable than what we experience here in
Wilmington and parts of Long Beach. I was bitten by mosquitoes, but not plagued
"You've come at a good time," said the man at the hotel desk. "A few years ago,
the city was ugly and poor."
And yet, I'm sorry to say this, the city of more than 200,000 has no right to be as ugly and as poor as it is. Where do the riches from the oil industry go? I don't mind walking through rubble and wading through mud for a couple of weeks, but what about the people who live here? Why don't they have better? Why the hell is the infrastructure crumbling? Why are the sidewalks all broken and the roads torn up? Why have the doors fallen off the toilets in the university and the partitions between the stalls? Why do the benches in the parks lack seats? Ecopetrol boasts of having created the wire sculpture of the Cristo Petrolero that looms over La Ciénaga in front of the refinery, a pond that
shines a fluorescent chemical green, its surface opaque. As people say, Not even Christ can clean up this water.
The people of your tierra deserve better.
Tatiana, I loved being in Colombia but it's good to be home. I am still suffering from sleep deprivation. And I missed my cat. I know you love yours so you'll understand. Ethnocentric, I often assume that outside the US people aren't devoted to their animals but in the Escuela Normal Cristo Rey the patios and corridors were home to dozens of cats and kittens, strays that shelter there because the students are so dedicated to
feeding them and caring for them. All around the carpa and surrounding buildings
and streets stray dogs wandered at will, skinny creatures, but with healthy coats, calm and friendly as though they'd never been kicked or abused.
One night, Tatiana, the carpa was filled to capacity, standing room only, more than
800 people watching the show. When I spotted an empty seat, I headed for it,
making my way through the tight space between rows. I stopped short when I heard
a whimper. A little dog was curled up just at the foot of the chair and try as I might, I could see there was no way to maneuver myself into the space without stepping on the little animal. I resigned myself to standing. Throughout the evening I watched as one person after another headed for the empty seat only to turn around. In this country 5 million people have been violently displaced from their homes, many people in the audience among them. I marveled. No one in the carpa of peace had the heart to displace the little dog.
(to see the photos that accompanied the piece:
Poet tatiana de la tierra practices the Munay-Ki rites and she invited me and Hector to Long Beach to be introduced to her practice. Given the winter storms and flooding the past few days and the weather forecast for today, I almost regretted saying yes, but what a wonderful day we spent with tatiana. Her apartment, full of art and rocks and books and bells and santos is home, museum, sacred space. (But her beautiful cats had to be closed up in the bedroom due to Hector's allergies.) tatiana led us to bands of protection and luminosity with the thunder and torrential rains outside the window. Mil gracias, tatiana.
After reading The Blessing Next to the Wound, Tatiana -- a wonderful poet/performer in her own right -- met us in Pasadena, bearing buñuelos fresh from her recent trip to Miami. Hector made coffee. We talked, and talked, and talked. Here's what she wrote:
(and if you'd rather see it with photos and correct layout, please click here
Sunday, November 28 The Blessing Next to the Wound JOURNEYING INTO THE JUNGLE
by tatiana de la tierra
Inside the psyche of a young man being tortured in that cell at the top of a hill there is a book that will one day tell his story: The Blessing Next to the Wound. A political memoir rife with intimate and harrowing details of fractured life, this book takes deeply personal wounds on a journey to global healing. This is the story of Hector Aristizábal, a Colombian theater artist, activist and psychologist. It is about some difficult issues—abortion, homophobia, drug addiction, racism, exile, prison, immigration, murder, torture, and the U.S. juvenile justice system. It is about the intersection of creativity, ruptured reality, ritual, and therapy. And it is about Colombia, where the story begins and returns to at critical junctures.
Co-written with Diane Lefer, The Blessing takes place in Medellín, Colombia and Los Angeles, California, with many stops throughout the world. Aristizábal hails from the low-income barrios on the outskirts of Medellín. Rounded up at four in the morning in 1982 by the army in search of guerrilleros, the twenty-two year old university student was taken to a compound where he underwent questioning along with beatings, waterboarding, electric shocks, mock executions, and psychological terror. Ten days later, thanks to pressure from human rights activists, he was released (and went into hiding). His brother Juan Fernando, who had also been arrested, was imprisoned for several months for carrying a machete. In 1999, when his brother was murdered by paramilitaries for his past ties to the Ejército de Liberación Nacional guerrilla group, the enraged Aristizábal demanded an autopsy of his brother’s corpse and photographed the event.
Out of this experience came “Nightwind,” a solo play that re-enacts Aristizábal’s torture and his brother’s autopsy. Co-created with author Diane Lefer and musician Enzo Fina, Aristizábal performs “Nightwind” in the U.S. and around the world.
“The play opened doors for me,” he says. Diane Lefer, Hector and I meet for coffee and conversation one morning in Pasadena. He’s recently returned from an ayahuasca retreat in the Amazon jungle, where he experienced the plant’s healing, illuminating, and maddening psychedelic “pintas” for the first time. Later tonight, he’s heading to Nepal to perform “Nightwind” and “Kiss of the Spider Woman” at the Kathmandu International Theatre Festival. “‘Nightwind’ opened the chamber of torture for people to see inside, opening the chamber for me to come out of it and not continue to live in it.”
The play also led to further collaboration between Lefer and Aristizábal, including writing and publishing magazine articles. The two joined political and artistic forces after people responded with suggestions that they write a book. Armed with Hector’s journal and his Masters thesis, Diane immersed herself in his voice and interviewed him, his family and others for further details. “Writing the book was harder on me than on him,” she says. “Telling your own story can be cathartic. Putting yourself in someone else’s head, that’s something else. Also I kind of lost track of myself for the years we worked on this, being so identified with his experience.”
Disgusted with U.S. politics and this country’s role in the world, Diane dropped out of college and ran away to Mexico years ago. She refers to herself as a “young idiot” for the time she took a bus through Guatemala and “got a guy with a motorcycle to take me into the United Fruit Company plantation,” where she marched to the manager’s house and demanded to see “the books.” Today, she is hooded and wears an orange Guantanamo outfit on her profile picture on Facebook. This was taken by Robin Lynne Gibson, a photographer who witnessed Lefer in street protest attire the day she was mistaken for a terrorist by the Los Angeles Police Department. The Facebook caption reads, “I thought I’d be able to change the photo by now.”
Lefer writes fiction, advocacy journalism, drama, and nonfiction. She avidly supports Duc Ta, a young man who’s been unjustly locked up in California prisons since 1999. Her activist affiliations include Witness for Peace, the Program for Torture Victims, and the Colombia Peace Project. As her “young idiot” spirit lives on, Diane Lefer is just about the perfect person to bring The Blessing Next to the Wound: A Story of Art, Activism and Transformation to light.
How did Hector like having his voice channeled by Diane? “It was fantastic. I didn’t have to sit,” he says. “The book exists thanks to Diane, her artistry. She forced me to go deeper… She provided the structure and made final decisions.” One decision she made was to cast the protagonist as truthfully as possible without glossing over his flaws. “When he does workshops, people come to him like he’s this great hero… I want people reading the book to feel like they can overcome anything that’s happened in their past. He’s not perfect. He has issues.”
A structural decision she made was to carry the story back and forth, from Colombia to the U.S. and beyond, out of chronological order, letting the themes drive the narrative. In twelve chapters, we are exposed to a man’s private life—a marriage that blooms and crumbles before our eyes, the lingering psychological effects of torture, a fetus pumping with life that falls into the palms of the hands, a group of men shedding tears for the grieving brother who is unable to cry for himself. Just as important are sociopolitical discussions about complex issues brought out from the personal, and abundant anecdotes and psychological perspectives about people healing through crisis.
With this approach, The Blessing transcends any one person’s experience. For example, “Life from Barren Rock” is a chapter about Hernán Dario, Hector’s thirty-one year old brother who is dying of AIDS after a lifetime of unacknowledged and unaccepted homosexuality. While the chapter centers on his dying brother’s life, it is also about homophobia, the sexilio of gay Latin Americans who leave their countries of birth to live freely as homosexuals, transgender mujeres in Los Angeles, and the power of ritual.
A lot happens in The Blessing, and it took me a bit to get accustomed to narrative jumping around—from personal voice to political discourse, from Medellín to Palestine to Passover dinner, from Hector being in one country, then another, on and on. The book is packed with so many references and information, I wish it had an index. And I appreciate how Colombia is represented here; I can see it vividly. This book is great for anyone who wants to understand the country’s complex history, with concise explanations of La Violencia, guerrilla groups, cocaine mafias, paramilitaries, and phenomena such as los gamines, los deshechables (the disposible ones), young hired killers known as sicarios, and much more.
With training in the performance arts in Colombia, Masters degrees in psychology and marriage and family counseling, twenty years of psychotherapy under his belt, serious personal drama and a penchant for mixing it all up, Aristizábal has developed, over time, a comprehensive and creative approach to healing. He travels the world now, teaching techniques inspired by Augusto Boal’s Theatre of the Oppressed. “I also bring psychodrama and the use of ritual, using theatre as a laboratory to explore alternatives to conflict, and theatre with community groups to reconnect with roots of where we come from.” He has offered his workshops all over, including Palestine, Afghanistan, Nepal, India, Northern Ireland, Israel, Canada, Spain, Colombia, Cuba, and the U.S. In Southern California, he has worked with marginalized communities—immigrants, gang members, torture survivors, pregnant teenagers, AIDS patients, “at risk” students and youth in juvenile detention centers.
His subject matter is heavy, I say. How can you focus so much energy on everything that’s painful and wrong in the world? “I hear you, I hear that from my family,” he says. “My sister says ‘you’re morboso’.”
But I won’t tag him as morbid. It’s just that he “goes there” to places that are ugly and uncomfortable. And he stays there long enough to recount, explore, bear witness, find the blessing, and transform.
“My wounds have informed my work,” he says. His brother’s homosexuality and struggle against homophobia inspired him to become a therapist. The time spent with his dying brother led to his work in hospice. He framed his experience with torture as an initiation that marked the beginning of a new life. The death of his murdered brother brought shamanism into his personal healing. When confronted with teenage peace activists from Colombia’s Red Juvenil, his internal terrorist shifted out of retaliation.
“The wound is a tomb for the things that need to die and for the things that are born out of the wound… Most traditional societies believe that when something happens to a person it is important to pay attention to it and find meaning in it, not pretend it didn’t happen.” He uses medical analogy to make his case: a physical wound requires cleaning and disinfecting before it can be sewn up. “In psychic wounds, the idea is not to wound ourselves but to look inside to see what happened to us. What are the internal resources that are awakened in us? … The idea is sufrimiento. To suffer is to bear it, to be able to understand what is in pain… to learn from the pain.”
I get it. A part of me wishes I had not read this book because there are things I’ve tucked away that I don’t want to feel or remember. Yet I am grateful that a book exists to take me there. “We have to do the soul’s work, which is going to the darkness to find the light,” says Hector. “That’s ayahuasca. You go to a dark place and see things; that’s where the light is. You go to the jungle to go into your own jungle. It is a paradox, but it is a beautiful one.”
The Blessing Next to the Wound: A Story of Art, Activism, and Transformation by Hector Aristizábal and Diane Lefer. Lantern Books, 2010. Available in paperback and e-book format for Amazon’s kindle. Labels: alternative healing, Colombia, Diane Lefer, Hector
Author, Playwright, Troublemaker