Guates. El Joropo contra las cuerdas Guates. Joropo on the ropes Director Diego Gutiérrez Country Colombia Duration 52’ Genre Documentary Language Spanish Location Colombian Western Plains Script Cesar Cano Research Nancy Espinel, Darío Robayo, Jhon Moreno, Sebastián Fagua, Jessica Gálvez.
Guates, Joropo on the ropes is the documentary that highlights one of the most polemic and complex discussions in the Colombian western plains: The transformation of Joropo. Plainsmusic has been taken hostage to define what it means to be a plainsman without giving room to deviant manifestations. In this scenario, Guates confronts the most canonic postures about the music with the newer and more disruptive approaches to the phenomenon of the plains and its culture. A guate isn’t a plainsman, comes from the mountains but lives plainsmusic and identifies with its symbols. Music is the bridge between the guate and the plainsman, and the conflict amongst different realities results in a consensus on the issues that affect them all. In this tale about transformation musical exponents, researchers, folklorists and specialists come together to talk about history, territory and change in today’s plains.
SYNOPSIS
This is a documentary about Joropo. The music of the plains talks about the vanishing ways of life of a region that ignores the changes that are evident in almost every aspect of everyday life. Joropo stands today with one foot in the furthest past of its origin: the indigenous communities, the cowboy and the fieldwork; and the other foot in a swirl of new social, economic and cultural practices for which it is not ready. This is the story of how Joropo got to this place.
LOGLINE
In the western Colombian plains there is a cultural manifestation named Joropo. Born from the ways of life in the plains, it has been essential in shaping the identities, values and music of the plain’s people to this day. Everything Joropo relates to dealing with livestock, working the fields and living in the plains. However, single-crop farming, extensive cattle breeding, and industrialization have changed the landscape that once reflected Joropo. Its referents are outdated and slowly disappearing, but for the official record nothing has changed. This traditional discourse is repeated by state agents, the industry and tourism, ignoring that what allowed for the genesis of Joropo is on the ropes. Outside of the local narrative, a new way of understanding life on the plains has arisen in the shape of plainsmusic that incorporates contemporary sounds such as rock, jazz, electronic music, etc. Joropo transformed and the time of linking it with the fieldwork is over. I’m from Villavicencio. As many others, I left the city for a few years. I found shelter and proximity to my roots in the plainsmusic; ultimate representation of my identity. When I returned to my hometown, I find myself questioning my appearance and thoughts. Am I a plainsman? My values don’t exist in plainsmusic because it doesn’t talk about my lifestyle, my costumes.
TOPIC SUMMARY In the search for my identity I resorted to texts and spaces where I was able to confirm that this doubt is central in an unresolved debate about the importance of tradition and the meddling of what is urban within the plainsmusic. I found a relationship between the transformation plainsmusic has undergone and the way in which the cultural imaginary of the people who listen and identify with it has changed. This diatribe and the ample discussion about the identity values reflect my bewilderment. I listen to plainsmusic but I don’t share its customs; I dance Joropo, but I don’t surround myself with livestock or live the wild life described there. I, much like any other person from the plains can reflect upon this subject. Not many of us want to dive deep into it. Generally, the works on the subject have exalted the cultural wealth without ever questioning it. I want to showcase the academic debate around plainsmusic because the public ignores it. I want to approach the colliding identity values by showing how they actually coexist. I ultimately want to show that we can come to agreements on the fundamental, all across genres. It is important that we tell our own history.
STATUS OF PROJECT Guates has already finished its development stage and it’s ready to begin production. In the development stage we landed on the main idea for the documentary and started contacting both musicians and academics to weigh in on the discussion. Nancy Espinel, Darío Robayo, Jhon Moreno and Sebastián Fagua are the main researchers and have come along in the journey of developing the idea, provided their critiques and influenced on the aesthetic choices that were made. They will provide the academic outlook on the issue at hand. We also approached some of the most spectacular alive performers of plainsmusic to contrast their artistic point of view with the academic analysis. The following artists have validated the premise of Guates and have confirmed their participation: David Parales, Yesid Castro, Abdul Farfán, Juan Pablo Rodríguez (Bordón libre), Carlos Alfonso López (Palo Cruza’o), Grupo Cimarrón, Chimó psicodélico, The Criollos and Fabio Quintero (El Yopo). These comprise a wide range of musical expressions and will be at the center of the discussion about plainsmusic transformation. During the development stage we carried out arrangements with the artists and academics for the use of their images. The audiovisual pieces coming from third parties will be used under Section 107 of the Copyright Act 1976, where allowance is made for “fair use”. In any case, the use of AV resources will be limited to two pieces per artist. The material will come from the public archives, directly provided by the artist and/or shot by De la Cruz. The musical composition will be mediated by the model of work made for hire that will ensure the rights of usage, distribution and commercialization.
The central topic comprises the instrumental sphere of the plains music, a fundamental component of its transformation. This sphere is also enriched with the symbolism of dance and clothing, that are somehow more bound to identity than the lyrics, for instance. The latter, due to its complexity will not be dealt with here. In turn, multiple analysts will explain how this transformation relates to identity from the fields of sociology, historiography, anthropology, musicology and psychology of music. A similar treatment of such an abstract topic can be found in the documentary about the war on drugs, “The Culture High” (2014). The collision between the styles of music will be structured taking as a reference “Red Army” (2004). To begin, a strident presentation will take place, questioning what has been taught to the world as proper to the plainsman. Then, the documentary will introduce what is understood as the traditional treats of plainspeople; which is to say, what has already been addressed and what comprises the collective imaginary, magnified by very important information that has not been taken into consideration. Afterwards it will be shown how the urban component bursts into the traditional, creating a heated discussion between these two styles.
TREATMENT
IMAGE AND SOUND
The visual component of the documentary is first made up of ample spaces, soft camera movements, natural colors and then counter posed by parks, buildings, changes in perspective. In general, is a contrastive composition of spaces, which can be open like the savannah, or enclosed like a home studio. Instrumental base for every style: Traditional: Guitar, mandolin, tiple. Urban: Harp, cuatro, maracas, deep bass. Contemporary: Drums, electric guitar, turntable, saxophone and others that might be used in this style. Emphasis according to the intention: Descriptive: Energetic, positive and joyful discursive accompaniment. Transition: White noise, loose notes, reflexive and cold improv. Attack: Complaint, wild fast-driving style. Consensus: joyful, motivational, invigorating, encouraging. The argument among styles is a resounding contrast. The instrumentalization of each emphasis reinforces the intention of the interviews. In some cases, there could be improvisation in the background.
CHARACTERS ON SCRE ANALYSTS
Nancy Espinel: Anthropologist from the University of the Andes, member of the Bolivarian Society of Meta and the eastern plains, member of the Colombian History Academy, President of Orinoco’s Photographic Archive Foundation. Her presence will help us understand the social, historical, and economic transformation of the eastern plains.
Darío Robayo: His broad track record in the study and research of the harp has made him stand out as one of the greatest performers of the plainsmusic. His outstanding melodies have been enjoyed at a world level. Currently, he directs the Harp and its music research center. His experience as a Harp Master, knowledge of the musical territory and research trajectory will be vital in the musical analysis.
Jhon Moreno: Musician from the University of the Andes. He has a Master’s degree in Musical Psychology from the National University of La Plata (Arg). Professor of History of Music. He had an active role in the Urgent Safeguarding Special Plan for the Llano Work Songs as a regional coordinator. He was a grant holder in the UNESCO’s Funds for the Safeguarding of Latin Americas Immaterial Cultural Patrimony with the theme: “Llano work songs in the Serranía del Manacacías”. Sebastián Fagua: Anthropologist from the University of the Andes. Masters degree in Communication and Media from the National University of Colombia. His main focus is the Immaterial Cultural Patrimony and its debate methodologies and community appropriation. He delivers a transversal view of the communication of those traditions in a globalized world.
EEN
The testimonies will be provided by exponents in each genre. Cultural and academic analysts will explain the relationship between the transformation of Joropo music and the imaginary of plainspeople identity, specially Villavicencio. Interviews will be run by an out of frame journalist with the skill to draw up the right questions to meet the needs of the imaginary script. Their proximity with the topic will allow them to confront the stances of the exponents, as well as argue with them, drive the narrative towards the conflict required. A narrator will be the mediator in this stylistic debate, and will contextualize when necessary. They will address the viewer in a broader language.
Eliecer Arenas: Passionate researcher of the musical culture in Colombia. He is also a tenured Professor in the National Pedagogical University and teaches postgrad in music in the Javeriana University and The University del Bosque. He will contribute his broad interdisciplinary academic perspective (Musicology, Psychology, Social Anthropology that will put Joropo and the plains on the ropes. Doris Arbelรกez Doncel: Anthropologist and Master in Musicology from the National University of Colombia. In her studies, she proposes that the instauration and consolidation of the practice of harp in Colombia are related to their mise-en-scene in the International Joropo Tournament in Villavicencio.
CHARACTERS ON SCRE ARTISTS
Miguel Ángel Martín: Posthumous Homage. This Araucan poet is the one who conceived the idea of organizing an event in Villavicencio, a festival that promoted a cultural meeting between Colombia and Venezuela. David Parales: Araucan teacher, llanero, historian, writer, composer, and harpist. It is hard to imagine today Joropo without the harp. But in 1960, Colombian Joropo knew little about the thirty strings. The one to bring the harp to Colombia was David Parales.
Yesid Castro: Workshop facilitator, instructor of llano instruments and basic theory based in Plainsmusic, musical coordinator, cultural agent, professional Plainsmusic harpist, arranger, music producer, author, composer, and director of the group “Los padrotes de la Guafa”.
EEN
Juan Pablo Rodríguez: His education has gone from Casa de la Cultura all the way to superior academic studies, which has made him a harpist of renown in the digital era. He proposes new scenarios where Jazz and Plaismusic converge. He is the harpist in Bordón Libre and has collaborated with artists such as Jhon Onofre and Cholo Valderrama. Palo Cruza’o: 2016 Latin Grammy winner in Best Folk Album with their work “En Armonías Colombianas”. Is considered one of the best groups of plainsmusic thanks to their outstanding performances in different spaces and their constant work for over twenty years, which has led them to accomplish awards, recognition and special distinctions in the places where they have had the opportunity to perform.
Chimó Psicodélico: Chimó Psicodélico is a project formed in Arauca. Is born precisely from the interest in making plainsmusic transcend an anecdote or the memories of grandfathers. In light of genres like bachata or reguetón, local folk expression seemed to be ostracised to folk parties and family gatherings.
El Yopo: LlaneraFusionMusic is a sound experience that connects contemporary music with authentic sounds from the Colombian East. Here EL Yopo travels through the past and the present of its Llano, a land with melodies and mysteries uniques to discover
The Criollos: The Criollos shows the virtues of plainsmusic mixed with a diversity of rhythms, taking the listener to a new musical sensation.
Grupo Cimarrรณn: Cimarrรณn performs joropo music from the Plains of the Orinoco River with a global and contemporary sound. Their powerful scenic force achieves a unique blend of its Andalusian, Indigenous American and African roots, with an impetuous and deep ethnic singing, amazing stomp dance and fierce instrumental virtuosity of strings and percussions.
NARRATIVE STRUCTUR Social Vision Cultural Industry
DANCE Profesionalization
Cultural politics
Turism
Folklore
CULTURE
JOROPO
MUSIC Instruments
Historia, Antropología, Musicología
Territory
SOCIETY Identity
Aesthetics Tradicions
CONTENT FLUX The documentary opens with “common” shots of the plains: representative images of what is usually known about the region, such as its sunsets, the livestock and the plainsman-cowboys. A voice-over appears to ask us about the region and its most representative artistic manifestation: Joropo. It warns us that in reality we know very little about it. Next, a “non common” shot sequence that juxtaposes the rural with urban areas: festivals, trails, buildings, oil palm plantations, rivers, petroleum, avenues, tourism. The same voice-over will direct and move forward the discussions presented by the interviewed analysts and exponents. It will contextualize or comment where needed in order to make the narrative flow. In the first part, the documentary presents a general history of Joropo, its musical and anthropological
RE
DRAMATIC FLUX 0-15 min
16-40 min
41-52 min
START
DEVELOPMENT
ENDING
ORDINARY WORLD What is commonly known about Joropo. A general summary on its history, musical genesis, and changes throughout space and time. ENABLING INCIDENT Diversification of the ways and motifs of Joropo, as well as their contexts and musician’s characteristics. All of this under the frame of the urbanization of Villavicencio and the emergence of a cultural industry.
CLIMAX Synthesizing approaches from contemporary exponents that gather the CHANGE tradition and culture. New ways of diffusion, new incenGlobal trends that highlight Joropo tives from cultural policies. Changes and llanero culture in order to take it in the development model. Musicians to new publics and stages. are not just llaneros or fieldworkers. Llano Worksongs Safeguarding Plan. Professionalization and academy both in music and in dance. CRISIS Identity conflict amongst musicians. Dissatisfaction in the face of a market-driven logic. Centralization of llanero culture in Villavicencio. Marginalization of other regions of the plains. Joropo as mechanical work, without critical and historical transmission. Joropo as a social transformation tool, in the aid of historical knowledge and identity reinforcement.
genesis. This first moment sets the tone for a society with ways of life and an imaginary strongly linked to the territory, the rural context and tradition. The second part shows the late entrance of urbanization and industrialization processes to the country and its effects on Joropo and plainspeople’s culture. The incidence of these processes affects music, dance, attire and the ways in which music is learnt and shown. Different genres mix, Joropo starts competing in the cultural industry and the state assumes functions of promotion and conservation. Towards the third moment, Joropo takes industrial dimensions: culture is widespread and art is monetized. The countryside decays: single-crop farming, the extractivist economy and livestock
RESOLUTION Joropo as multidiverse universe that contains the multiplicity that is the essence of Colombia. Culture as a changing phenomenon, deeply linked to economy and politics. The plains as the space for the coexistence of the multiple manifestations of Joropo. Proposing a critical re-reading of the traditions to generate economic and politic alternatives to the extractivist model that are friendlier with the region and the environment. Other cultural manifestations of the plainspeople.
farming affect the ecosystems. All of this incubates an identity crisis within the plainspeople identity. In turn, Joropo responds with fusions that integrate punk, jazz, pop, metal; and joining the World Music Circuit. In view of its risk of disappearance, The Llano Worksongs Safeguarding Plan works towards protecting Joropo’s first stage of development. So, Joropo as a cultural manifestation keeps on evolving, while all of its different forms still coexist today. So, towards the end of the documentary we will have a multidiverse field in which culture, economy, politics, art and tradition collide, blend and reject one another in an ever-changing region that identifies with the multiple: just like Colombia.
Guates is made with the intention of sparking a public debate that’s been unknown for more than 40 years. The audience for Guates is mainly the people from the Colombian Western Plains. These are the people we aim for in the narrative of the story, since it pertains to their local identity. This public is located in the Colombian western plains, characterized for being a geographically wide territory, with middle to small cities to which cinema arrives through public television, internet connection in the towns and generally, through the pirate market in faraway villages. For the documentary to be seen, it is necessary to resort to both conventional and non-conventional distribution strategies. As there aren’t any stablished distributors in the majority of the territory, we will try to have Guates programmed in the different Llanero festivals across the region. It is foreseen that the theme and critical approach of the film won`t be well received by these state festivals. That’s why we are looking for international screenings to vouch for the seriousness of the documentary so we can break that barrier. Moreover, Guates will broadcasted in Señal Colombia, the public channel with the biggest reach in the plains. We will also make low-cost copies of the film and will allow for the digital copy of it in that territory. Organic distribution and even the leaking of the material to the pirate market will be strategic in the spreading of the message and the sparking of the debate for which we aim. Finally, and since the film’s content is of interest for both the Colombian and international public, we will pursue its diffusion in festivals. Nonetheless, we will prioritize the plain’s audience over these markets. Since the development we consider that the film’s success lies in its echoes within the plains themselves.
INTENDED AUDIENCE
DI
IRECTOR’S STATEMENT
Music, territory and identity The logic behind the story is the contrast and collision of the different approaches to understanding life on the plains. That way, what we intend as the debate of the different kinds of plainsmusic will be translated into the screen by using visual referents from every lifestyle. On the one hand, there will be a focus on the genesis of Joropo. Images of large fields, delivered by soft camera movements and natural colors will drive the argument about the natural occurrence of the music. On the other hand, the arrival of newer urban takes on the traditional music will be delivered via images of parks, buildings, factories, highways in strident changes in perspective. In general, is a contrastive composition of spaces, which can be open like the savannah, or enclosed like a home studio. The visual component of the documentary is made up of ample spaces, images with great depth of field that evidence the immensity of the territory. The images will bounce between summer and winter scenarios, we will highlight the green and orange tones the ambience offers. The characters will be presented with backgrounds that correlate to their provenance and stance on the issue. We will also use for the first time in a documentary the press archives of the Province of Meta which are being digitalized at the moment. The collision between the styles of music will be structured taking as a reference the articulation of characters shown in “Red Army” (2004), where these are presented in a chain of conflicts left unresolved. The objective is to visually create a dialogic tension among postures so that it illustrates the complexities of the musical development in the region. The analysts will explain how the music relates to identity from different perspectives. A similar treatment of such an abstract topic can be found in the documentary about the war on drugs, “The Culture High” (2014). Music transformation is the central argument of the documentary, so it will guide the sound development of the narrative. We will start in the Bajnakabos Chants of the Sikuani tribe, first nations of the territory. This is the root for one of the most prominent sounds of the plains: the Llano worksongs. This acapella chants open the way for the maracas (indigenous instrument) and string instruments (bandola, cuatro, tiple, guitarrón). The harp will turn up in the story to complete the ensemble and guide the discussion between analysts and exponents in the background. The incidental music will be written by Darío Robayo. He will have the freedom to prepare pieces which reflect the transition and will also improvise to showcase the naturalness of the musicians of the plains. Diego Gutiérrez
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