IV BIENNIAL OF MILLENARIAN ART

IV BIENNIAL OF MILLENARIAN ART Quito, Ecuador October of 2012 – From the 2th – 14th

INDEX OF CONTENS Our environment – The Community of Learning – Philosophy The Team IV Biennial. Invitation. Bases The Trophy The Children Salon and Workshop Open Forums and Debates The Faire The workshops This document is meant to be a general guide in English to the IV Biennial of Millenarian Art, that will be held in Quito, Ecuador - From the 2th to the 14th of October.

If you need additional information or have any questions regarding your participation, please contact to our in English AssistanceTeam at: santoeq@gmail.com or call at the mobile phone 097 958 845 – Quito, Ecuador

www.bienaldearteindigena.org / www.tamu.com.ec P.O. Box - 17 - 03 – 669. Quito, Ecuador / South América E mails: santoeq@yahoo.ca / quitumbe67@hotmail.com Telf. Mobile: 097 958 845

OUR ENVIRONMENT THE COMMUNITY OF LEARNING. PHILOSOPHY • The vast traditions of the millennial cultures make up one of the most valuable living heritages of humanity. Despite being of inestimable social value, it is one of the riches mostly rapidly disappearing, due to factors such as: o o o o

Generational extinction, the failure to create new talent Disloyal use and appropriation The imposition of foreign uses and customs Intolerance and alienation

These processes have led to serious obstacles which, aside from altering the social peace, consume great quantities of resources in the attempt to correct them. Among the problems worth mentioning are corruption, delinquency, individualism, utilitarianism, consumerism, and indolence.

OUR REALITY • Around the world, the millennial Indigenous Nationalities and Peoples have enormous strengths, having been generously blessed in creative spirits of all ages. Their cultural legacy is very much alive, it is vast, and it is waiting to be cultivated for the common well being.

• There is a mature generation of Amawtas (thinkers, leaders, scientists and artists) who, from our rural communities and urban neighborhoods, lead us by their example towards the rebirth of what is ours. This is our challenge today.

• There are children and youth, in the countryside and in the cities, full of talent, ready to learn, and truly connected to their identity and history.

THE COMMUNITY OF LEARNING These learning centers are created to bridge the gap between formal and informal learning and: Have the virtue of being organizers of knowledge.

Are an alternative for multiplying the opportunities to access collective learning processes.

Make possible the participation of sectors that have been traditionally excluded from the existing educational systems.

Are autonomous and organized around their own reality.

Promote learning practices oriented towards the rescue, revaluing and potentializing of cultural heritage and human talent.

Consider in their design a wide participation, giving both range and importance to the epistemological authorities (holders of knowledge) and to ontological authorities (holders of academic degrees).

Not only support community functioning, but also leave a print on each person, thereby reproducing themselves.

PRINCIPLES Foment individual and collective construction of knowledge.

Provoke important paradigmatic changes.

Conceive of reality as a fabric that is recreating itself, oriented by our will and thoughts.

Approach knowledge from a parameter of respect for nature and consequently to the beings that populate the universe with their own cosmology.

Recover diverse educational and pedagogical experiences, reflections and practices, with a perspective of dialogue and exchange.

Strengthen community, family and social ties.

ORIENTING PARADIGMS Recover the magic of art Support the decolonization of thought Awaken individual and collective imaginations Revitalize and cultivate the millennial arts Philosophy inspired by the principles promoted by the Indigenous Peoples and Nationalities of Ecuador, upon the creation of the AmawtayWasi Intercultural University – House of Wisdom – which is permanently nourished and experiences and concepts which arise during our own processes.

www.bienaldearteindigena.org / www.tamu.com.ec P.O. Box - 17 - 03 – 669. Quito, Ecuador / South América E mails: santoeq@yahoo.ca / quitumbe67@hotmail.com Telf. Mobile: 097 958 845

THE TEAM ORGANIZER COMMITTEE TAMU - Music Workshop Indigenous School of Arts. EIA. Alquimusiteatral Experimental Workshop Los Perros Callejeros Ortega´s Temple of Arts ECUADOR – PERMANENT MEMBERS - CULTURAL GROUPS JuliánTucumby and Los Tucumby Cultural Group WiñayCayambe Cultural Group Tsáchila Cultural Group Los Yumbos Chaguamangos Cultural Centre RunaKausay Workshop Mashicuna Workshop Kallampas Cultural Group Los Mawkas and Saraguro Inka Dancing Workshop PachakKallari Workshop on Ancient Music La Bola CULTURAL GROUPS, ORGANISMS.

INTERNATIONAL

FRATERNAL

Chile Mapuche ÑiKimvn / Surama México CONACULTA / Caracol de Fuego Panamá KantuleWorkshop Perú Juan de la Cruz Machicado – Gallery and Salon of Art Inka 2.000 Productions SanctuaryWorkshop Versalia – Art Lovers Argentina Cantoras de Eurindia

ARTISTS

AND

Egypt Ministry of Culture TamuMashicuna Band abroad Argentina - Canadá – Colombia - Reino Unido – Chile – Venezuela – Alemania y Brasil.

QUALIFIER JURY PRESIDENT Master Juan de la Cruz Machicado International Members Brasil Dora Parentes Argentina Adolfo Pérez Esquivel / Lilia Moyano Colombia Alegría Restrepo Cuba Marcel Ramírez Egypt WaelDarwish Estados Unidos Amaru Chiza / Ray Miller / SusanConley / RobertUsibelli UnitedKingdom Raúl Lema Noruega Miguel Tinizaray Perú Juan de la Cruz Machicado / Enrique Galdos Rivas / Herbert Dante Calumani / RemberYahuracani.

Panamá Oswaldo de León Kantule

Ecuador A delegate for the institutions part of the Organizing Committee.

A delegate for each sponsor.

Artists, teachers, leaders, medicine man and intellectuals of the most diverse cultures, to be invited.

At a visible place inside of the gallery an urn (receptacle) will be placed, so the attendants can also vote.

CURATORS OF THE ARTISTIC EXHIBITION Hernán Rodriguez Castelo and Dolores Ochoa Rodriguez TECHNICAL OR EXCECUTIVE TEAM Jorge IvánCevallos - General Coordinator and Producer Héctor Cisneros - Academic Director Cristobal Ortega - Artistic Director Ali Lema Imbaquingo - Musical Director Thomas Graham - Technical Director Claudio Durán - Technical Codirector Andrés Marcillo – Children´s Workshop and Saloon Coordinator Dr. Galo Valencia – BiennialAdministrator Trustee. Dr. Luis Carlos Fernández PepéSantillan - Logistics Coordinator MachashkaRaymi - Jury and Curator Assistant Mary Otavalo - Conduction of Public Events

www.bienaldearteindigena.org / www.tamu.com.ec P.O. Box - 17 - 03 – 669. Quito, Ecuador / South América E mails: santoeq@yahoo.ca / quitumbe67@hotmail.com Mobile phone: 097 958 845

THE INVITATION – BASES INTI ÑAN – THE WAY OF THE SUN IV INTERCONTINENTAL INDIGENOUS ARTS BIENNIAL World Prize to the most distinguished of Millenarian Art, Thinking and Culture - October 2012 With an intensive workshop in creative experimentation in a neighboring Indigenous community MODULES AND COMPONENTS The Community of Learning – Professional training workshop and laboratory of creative experimentation The Art Exhibition. The contest and the World Prize.

The Theater, Music and Dance Festival The Crafts, food and medicine Fair The Memorial of Indigenous Nations and the Awarding Ceremony The Children’s Workshop and Salon of Art The Philosophical Forums and debate THE COMMUNITY OF LEARNING 80 academic hours, covering the following topics: Philosophy Studies (Cosmology, Philosophy and History) Musical Rhythms and Styles Theater and Dance Instrument Construction Composition, arranging and fusion Workshop in Stage Arts - Costume, Make-up, masks.

Graphic and Visual tools and languages Intercultural Dialogue, and Mother Tongue The Laboratory for Creative Experimentation will be a fundamental aspect of the WORKSHOP and include the creation of a piece of art thatcompiles the artistic aspects of this experience.

Just as in the earlier versions, this work will be presented to the public at the Biennial’s closing and awards ceremony.

ART EXHIBITION, CONTEST, AND WORLD PRIZE / PARTICIPATING GENDERS Dance and Theater Music (Recorded in any audio format. Unedited or Published) Popular Art and Handicrafts Fine Arts - Painting, Sculpture, Engraving, Drawing, etc.

Cooking - Recipes with wisdom Visual Arts - Photography, Film, Video, etc.

Oral Literature and Creative Writing.

Science, Technology / Social and Scientific Research THE ATAHUALPA AWARD TO CHILDREN’S ART / PARTICIPANTING GENRS. All aforementioned genres and categories, distinguishing themselves through their didactic objectives: The Story Telling, for the series “My Grandparents Told Me”.

Songs and Music, for the series “Singing withthe Children of the World”.

Illustration and Drawing, to be edited in a special section for comics or animation.

Products to be distributed in future stages as a gift of the Millennial Art to the children of public and private childcare institutions, nursery schools, kindergartens, schools, etc. throughout the world.

THE TROPHY: INTI ÑAN - THE ROAD OF THE SUN The trophy: INTI ÑAN - “THE WAY OF THE SUN” (Kichwa language of the Ecuadorian Sierra). Is a metal sculpture created by Master Santiago Espinoza, young and talented inheritor of one of the oldest jewelry and metal works traditions in America: the Quito School, heir of the PreColumbian School.

General Considerations: As a CONTEST, the participation is open in any of the modalities, without limits in age or condition, in every format.

Along the Artwork should be send a quick summary or description of what it represents, the curriculum vitae of the author.

The selected pieces in the diverse categories will be exhibit during the IV Biennial.

There will be at the most two Absolute Winners in each category. The

Jury can do and exception to this rule to a maximum of 3.

There is also a First Mention to Artistic Merit.

Besides the trophy the winner will also get a scholarship to participate in the V Biennial, that will be held in October 2014.

Except by the international air ticket, the scholarship includes all expenses such as guides and teachers, hotel, food, drinks, inside the host country permanent transportation, entrances to museums theaters, and galleries of a programed visit by the Biennial.

This scholarship could be granted by the winner, to any person she / he / they / may choose.

The winners will also be chosen to integrate The Traveling Galleryof the Biennial of Millenarian Art –, integrated to visit and the most diverse communities, art centers, museums, schools, galleries.

Around the world.

The participant Artworks must be send until August 1 – 2112, to the following address: Mr. Jorge IvánCevallos INTERCONTINENTAL BIENNIAL OF MILLENARIAN ART P.O. Box 17 – 03 – 669 Quito, Ecuador South America Note:Is very important first to coordinate the sending of the art pieces, so you can get technical instructions to do it properly.

IMPORTANT CONSIDERATIONS FOR NOMINATION OF WINNERS His / her / their (for groups, bands or communities) support to the existence of Millenarian Art is remarkable, having kept it alive and accessible for the People.

His / her / their / professional activityhelps to keep alive traditions of native communities,having presence both in the great cities and in the communities.

The Art find in His / her / their creations, inspiring energy.

The selection of winners in diverse modalities will be determinate by the Jury, considering the votes and opinions coming from the attendants

during the exhibit days, or through the Internet. In both cases they have the facilities to vote.

All nominations imply their publication in the Web site – Virtual Catalogue.

THE TROPHY

"Jorge Espinoza Almeida got fame quickly as a great Jeweler. His novel and impregnated with pre-Columbian traditions creations have always had great acceptance. It allowed him to expand his workshop and to search for his technique and artistic improvement, just as for tens of operators that found in him an unsurpassable master and guide. Many of them have as of today their own workshops inside and out of the country.

Also the Master Espinoza dedicated part of his time to the class struggle.

As his colleague, the Master NeptalíMartínez, found essential to dedicate some of his time and effort to try to join and improve life conditions and work of Ecuadorian artists, in whom he is convinced, still subsists the creating and uncommon genius of the forever lasting Caspicaras".

"Vistazo" Magazine Quito

God Genius laid his hand on him, that made him a very practical and a tremendously dreamer being.

A lot of his work endures in private collections all around the world (included many Popes in Vatican and tens of Ambassadors). But his most beautiful dream, forged in that Blessed forgery with his colleagues, has not come true yet.

The indolence of the State and of most goberntants in our country, 50 years later doesn´t get to understand the urgent need of a school of formation for new talents in this branch of Art, which practically is in the hands of Divine Will, silently expressed in the persistence of workshops such as the Espinoza Family.

As a corollary to a press article dedicated to This Master, we transcript: “After admiring this genius of national crafts, we´ve agreed completely with his idea, in the way that there should exist the foundation of a University of Artistic Crafts, may be with a joint contribution of efforts of the artisans themselves and from the State.”

Master Jorge Espinosa I. El Comercio. Newspaper. Ecuador 72 YEARS OF FUNCTION Goldsmith was something that liked to Jorge Espinoza ever since he was a child, even though he learned about ART at the age of 14 with Rafael Proaño…

He had finished elementary school and it was time of choosing a career, which was the law for Young people of his time.

Years have not passed in vain, now when he has a son and a great son that old are experts in jewelry and ornaments. The technique was improving through many years and thanks to his dedication he was Master of the Legarda Workshop (EscuelaQuiteña de lasArtes) from 1982 to 1991. Espinoza worked with NeptalíMartínez, Salomón Enriquez and Luis Yepez… His work has given him more than one satisfaction: three out of his six sons, his three grandsons, and one great grandson have inherited his profession.

His work has surpassed borders …. Due to the fact that in the country exist 40 Embassies, Don Jorge has made at least one piece of ornament for each one of them. He was born in the most popular neighborhood of the country, La Tola.

His Grandmother was one of the founders; there was where his mother and sons were born. He got married with Chamorro 54 years ago…”

Newspaper el Comercio – Quito www.bienaldearteindigena.org / www.tamu.com.ec P.O. Box - 17 - 03 – 669. Quito, Ecuador / South América E mails: santoeq@yahoo.ca / quitumbe67@hotmail.com Telf. Mobile: 097 958 845

THE CHILDREN SALON AND WORKSHOP PARTICIPATION BASES Nature of the Workshop Free of charge Through a scholarship orientated for: 50 kids of different cultures Age From 5 to 12 years old Date October 12th. 13th, 14th - 2012 Workshop´s Schedule From 9H00 to 14H00.

Inspired on the spirit of the Native Nations, the rest of the day the child will enjoy city tours, games, movies, etc.

Workshop´s characteristics Intercultural. The children will be meeting many friends from different cultures.

Playful. Kids will be playing and constantly creating.

Useful – The children will be developing values and learning important things.

Subjects to approach Music Dance and theatre Literature and Mother Tongue Drawing and Painting Elaboration of musical instruments Elaboration of costumes and masks Techniques to be used Diverse Important notes The places will be distributed taking into account preferentially to kids

who have participated in similar experiences before.

The participating kids from provinces – or other countries- must arrive to Quito on October 11th 2012.

In order to be chosen, the children or their parents must send his / her basic information and any work made at home. At August 1st - 2012 top.

The work may be a painting, a sculpture, a poem, a song, a tale or any other form of artistic expression. This work will be used as a base to assess their talent and vocation, before the granting of the scholarship.

The scholarship includes: all School´s expenses, accommodations, alimentation (all food and beverages), mobilization, permanent guidance inside of Ecuador, and tickets to museums, movies and theaters.

The chosen children must go with comfortable clothing which they can get dirty. They must bring an extra change of clothes and cleaning accessories for the next 4 days.

Is they are able, children bring recycled material from home that they can use at the elaboration of costumes and masks such as: fabrics, buttons, seeds, paper, cardboard, etc.

Their arrival to Quito – just as their getting back home- must be coordinated by the person in charge of the child, with the Workshop´s Director. Mr. Andrés Marcillo at: santoeq@gmail.com Children will be heading back home on Monday 15th October, at any time.

Considering that is import to encourage the participation of artists and grown maestros, which work inspired on the knowledge of our elder, and dedicated to children, they participate in this space with their Artwork, being a part of the Atahuallpa Award to Children´s Art and of the Eduardo Kingman´s Salon.

Workshop´s Director Andrés Marcillo Guest Facilitators that will be invited SofíaDelfín / DomitilaMichelena / Salomé Cisneros – DANCE / – Francisco Cisneros – ManoloSantillán – THEATRE / Laura Cabascango / Ricky Lema / Alex Lema - MUSIC AND CONSTRUCTION OF MUSICAL INSTRUMENTS / Verona – Polli – Sandokan - DRAWING AND PAINTING / Andrés Morcillo – COSTUMES AND MASKS / Salvina Alvarado y Vicente Shiguango. ORAL LITERATURE AND MOTHER LENGUAGE.

Expected Results Personal Growth Development of a methodological base, dedicated to the awakening of vocation and artistic talent in Children.

A work´s collection of diverse genre, to be reproduced in posterior stages, amongst communities, children´s care center or schools from all over the world. www.bienaldearteindigena.org / www.tamu.com.ec P.O. Box - 17 - 03 – 669. Quito, Ecuador / South América E mails: santoeq@yahoo.ca / quitumbe67@hotmail.com Mobile phone: 097 958 845

OPEN FORUMS AND DEBATES: The PlurinationalState. Fundaments and implications.

Nations in Voluntary Isolation and Ecological Reserves in the Rain Forest.

Cultural Policies with Millenary Nations.

ACADEMIC COMISSION To be integrated. Before July 2012 GOALS OF THIS ACADEMIC ACTIVITIES Allow the exchange of visions and opinions on these matters.

Establish a system of alliances that allows us to promote positive and meaningful actions, about public policies, that reflects the construction of a Law and a System that gathers the heartfelt aspirations of the Native Nations.

Improve the insertion of academic components and of a political review in the Biennial as human facts, profoundly artistic.

GENERAL REGULATIONS OF THOSE FORUMS Every guest has a maximum of 30 minutes After every intervention there will be a round of questions for the exhibitor from all the attendant, to clarify any aspect that hasn’t been fully understood during the exposition.

At the end ofall interventions the debate opens up, which is considered public and extended.

A Technical Secretary will be established to keep a memory of facts for the upcoming publication.

IMPORTANT NOTES The Philosophy and the goals of these Academic Journey are alive concepts that will be permanently improve.

As from 2006 these debates are sequential to all the Learning and Biennial Communities.

THE FAIRE Participation Bases Dates Fryday, Saturday and Sunday - October 12th, 13th and 14th Genres to participate Jewelry Luthier Textile Furniture Knitted, Embroidered and Sewing Saddlery Pottery Carved Gastronomy.

Medicine Space made for the meeting of ancestral medicine, with occidental medicine. Exchange and sharing of knowledge among doctors and college specialists as Midwifes, Shamans, Herb´s Specialists, etc.

Will also participate in the following workshops: 1. “Medicinal Plants, applied to the treatment of the most common illnesses”.

2. “Magical Medicine – Symbols and Signs of the Therapeutic Linguistics in the Contemporary and Ancestral Context.

If they wish, the participants could also: o Give medical attention to the attendant of the faire. o Offer medical products to the attendant, developed with proper technology from the communities.

Available places at the time Tree (3) spaces for each mentioned genre.

Important Notes To each exhibitor – with no charge – is given a space of 3 x 2 meters that includes the respective tent, electric connection, 1 table and 2 chairs.

The participants will also have permanent access to storage and security service.

The assembling of the space will be on Friday October 15th, from 08H0.

The quality the products to commercialize will be the best and it will reflect the professionalism of the participant for the realization of his/her art.

The participants must have a minimum substructure that will guarantee the proper exhibition of their products. This exhibit must be assembled with quality material reflecting the spirit of the art that will be presented and commercialized.

Its suggested to bring tools and material to give live demonstrations and share with other partners – and with the attendant public.

During both days, the faire will be animate by the performance of different artists.

Interested craftsman and women should send their proposal until August 1st 2012. Theoric resume of his / her art plus photos to illustrate it.For more information: quitumbe67@hotmail.com / santoeq@gmail.com www.bienaldearteindigena.org / www.tamu.com.ec P.O. Box - 17 - 03 – 669. Quito, Ecuador / South América E mails: santoeq@yahoo.ca / quitumbe67@hotmail.com Mobile phone: 097 958 845

THE WORKSHOPS Singing Elaboration of Musical Instruments Artistic Serigraphy

To be invited to participate in any of them, Artist or Art students must send their CV to: sanyoeq@gmail.com, along with a sample of their artistic talent.

SINGING WORKSHOP Date: Time: Duration: Participants #: Inscriptions:

From October 3th to October 14th To define along with the participants 30 hours 20 Until August 1st 2012

Theoretic Development This Workshop has as a purpose to give basic vocal technique tools, development of harmonic / melodic hearing, and research of rhythmic cells that comes from different types of singing.

We will work as a coral workshop with the given repertoire from the Biennial´s goals.

The purpose of this workshop is to get the assembling done of the artistic collective creation of the IV Biennial Intercontinental Indigenous Art. The workshop will have 8 group classes of 3 hours each, which could be in the morning or in the afternoon, depending of the decision of the participants.

Vocal Techniques. Contents Respiratory System. Internal body parts and muscles that are involved. Diaphragmatic inspiration and expiration.

Phonic Apparatus. Internal body parts that are involved, it´s function. Sound´s attack. Resonators: function and location.

Broadcast and articulation. Vocal tract, vowels and consonants.

Teaching strategies Oral explanations for the location and anatomic comprehension of the Phonic Apparatus and resonators.

Focalization and corporal motility exercises. Coordination of both.

The goal of this task is to get to know and connect with the body, recognize feelings of closure and opening, control and appreciate position habits that will help broadcast and liberate the voice, recognizing differences amongst terms: energy – power, attitude – stiffness, holding – pushing or struggling.

Understanding and experiencing singing as a projection coming from the deepest of our being, singing “with” and “from” the body.

Development of harmonic and melodic hearing – Contents Tuning Localization of lows and highs Registry of spoken and singed voice Useful rank of registry. Extreme ranks Melodic comprehension. Complexity degrees Tonic Function. Dominant Function Tonal and modal melodies Collective chants Harmonization with 4th and 5th ( American way) Harmonization with 3rd and 6th (European way) Block Harmonization (harmonic) Flat harmonization (melodic) Harmonization with rhythm cells Harmonization in parallel movement and opposite movement Teaching strategies: We will work with harmonic instruments (guitar or piano) as a coral workshop, which implies the collective creation in company of the tutors.

The alumni will experiment the searching of melodies and harmonies from what the proposed melody suggests, in the searching of the group integration in the collective singing.

The goal of this work is to value the collective practice of singing as a place of cultural meeting, recognizing and identification.

Development of rhythmic sense – Contents Importance and alternation of sound – silence Duration of the sound. Basic parameters of figures (lasting of sound in time) Density and rhythmic space Polyrhythmic The voice as a percussion instrument The body as a percussion instrument Group formation of rhythmic screen Melodic rhythmic and onomatopoeic

Teaching strategies Percussion exercises, vocal and body. Explanation of basic notions of music language. Presentation of different basic rhythms of Mongrel America.

Improvisation of rhythm cells from a personal searching.

The goal of this work is to recognize the rhythm of each melody from the personal and collective searching.

Repertoire In this workshop we will use the repertoire given by the Musical Direction of the Biennial ( a medley of Indigenous and Afro American chants in their original languages, with an interpretation of their meanings and the social context they represent.

Bibliography Querido Maestro, Querido Alumno .Renata ParusselEd.GCC Educación de la voz “Principios fundamentales de ortofonía”. Mena González Reflexiones sobre la voz . Myriam Alio Taller Coral. María Teresa del Corral.

Adiestramiento Elemental para músicos. Paul Hindemith.

Tutors Silvina Simón, Delfina López y Lilia Moyano – (Argentina). Belong to the al Ensamble Vocal Cantoras de Eurindia. In their repertoirethey approach different chants from Indigenous Communities of America, giving the value that they deserve and mixing it with their own musical research.

Understanding the music of American original towns as an artistic expression rich in melodic, rhythmic, cultural and spiritual manifestations, where they dig in, to transmit the cultural diversity existent in this Enormous Motherland, which defines American identity They are graduated from Universities and Musical Conservatories from the Argentina Republic and from abroad (La Habana/ Cuba) .

Further information moyanolilia@yahoo.com.ar / santoeq@gmail.com

MUSICAL INSTRUMENTS CONSTRUCTION WORKSHOP Generalities Date: Time: Duration:

From October 3th to October 14th To define by the participants 30 hours

Participants: Inscriptions:

20 Opened until August 1st 2012

Responsible of the Workshop Esteban Pérez Esquivel Introduction The pulp of wood is a technique designed for the elaboration of musical instruments that may be applied in the different social - cultural contexts.

The combination of pulp of wood and cellulose recreates the characteristics of wood itself, allowing the access to any person interested in building their own instrument, without any previous technique knowledge. The diversity of designs and decoration that this technique allows, bring people closer to the musical reality of many cultures, adapting them to their own creativity or necessity.

Central Goal Diffuse the pulp of wood technique and create a collection of percussion instruments that will be used by the III Biennial Orchestra.

Places established per workshop A maximum of 20 participants.

Percussion instruments Elaboration The assembling of instruments is developed progressively in chapters applying a technical and didactical language in it´s construction. This way, the tutor may easily understand the assembling of the instrument. Each group will have their elements in kits.

Program UNIT 1 – Preparation of the pulp of wood.

Chapter 1 – Necessary elements Chapter 2 – Attendance of the conservation of elements UNIT 2 – Resonators Chapter 1 – Resonators Classification Chapter 2 – Presentation of the mold Chapter 3 - Assembling of the Resonator UNIT 3 – Patches Chapter 1 – Different ways of preparing the patches Chapter 2 – Presentation of the resonator on the patch Chapter 3 – Alternative patch with x – rays plaque

UNIT 4 – Tientos Chapter 1 – Tientos and tensile Chapter 2 – Buttonholes Complete assembling of different drums Materials and tools to use Dust of wood. 5 kilos Vinyl adhesive (white glue). 5 kilos Toilet paper Industrial powder. 5 kilos 10 pieces of cloth blenders or a hand blender An electric hole maker Large trays to dissolve the paper in water A bowl with 1 kilo capacity A strainer for the wood Twenty medium brushes 2 tweezers 10 medium spatulas Adhesive paper tape Knife or cutter Pencils Pulp of wood´s formula The materials must be incorporated in this proportion: - 1 part of squeezed toilet paper - 1 part of glue - 1 part of industrial powder - 1 part and a half of wood dust Technical Details The development of this activity will have a proper space and will have: - A full medical kit - 3 tables of approximately 2, 00 x 1, 00 meters, covered with plastic - A sink with regular water - A wall outlet - Bathrooms More info at www.esquivelluthier.com.ar / www.muxxica.com.ar

ARTISTIC SERIGRAPHY WORKSHOP Name: Date:

“Artistic Carved and it´s Expression Procedures Serigraphy” From October 3th to October 14th

Time: Duration: Available places: Responsible:

To define by the participants 30 hours 20 Art Workshop “Santuario” – Peru Herbert Dante Calumani Blanco - Director Carmen del Pilar Gonzales de Calumani – Artist

Foundation One of the forms of creation and expression of Plastic Arts as a specialization, is Carved, and as such it contributes to the consolidation of the creative process of the artist, just as of students in the visual communication fields.

The study and demonstration of the procedure, the materials and creative concepts are relevant aspects taken into account for the treatment of the following plan.

Just as well, being a fundamental goal of the Biennial, the Artistic Creation translated into Art Works, as in this case the Permeographic Carved – Serigraphy- which spirit is the inter learning with participant artists and students of art, inspired in the ancestral and millenary wisdom of our communities.

Methodology Use of the experimental and photochemical screen with the following set of themes: Introduction Serigraphy in Printing Systems Experimental Screen - Elaboration of the screen – characteristics of the woven structure - Direct and indirect tint – Trim, Water and Powder Blocker Pastel Oil and textures – demonstration and practice - Preparation of Inks, Printing Variables, Cleaning and recovery of Screens Photochemical Screen, Photographic Tint - The positives – Hand, computerized and improvised Designs - Sensitive Emulsion - Insolated - Revealed - Printing and recovery of screens - Demonstration and practice Goals - Show technical procedures of Artistic Carved through Serigraphy

- Consolidate the Cultural exchange with artists from around the world in the context of the Intercontinental Biennial of Millenarian Art. - Encourage directly the interest degree for Plastic Arts – Serigraphic Carved as a result of the exhibit to execute Evaluation Will be permanent and collective in order to extend the certificate.

For further information calumaniherbertd@hotmail.com / santoeq@gmail.com www.bienaldearteindigena.org / www.tamu.com.ec P.O. Box - 17 - 03 – 669. Quito, Ecuador / South América E mails: santoeq@yahoo.ca / quitumbe67@hotmail.com Mobile phone: 097 958 845