Interbreed between Craft, Art, Indigenous Community and a Geo-Political Context of Produc

Interbreed between Craft, Art, Indigenous Community and a Geo-Political Context of Production The complexity of the geo-political situation of Colombia makes it difficult to move within the country, especially for foreigners. In some parts, it is not clear who is in control. In these areas, instability and insecurity are not only a feeling but also a reality. At first sight, a project that seems simple turns out to be complicated to achieve. Initially, the intention was to work with a specific indigenous community in relation to their craft and to produce a work out of this encounter that would not coincide with their usual production. The plan was to travel to the countryside where the community is settled, in order to have a better understanding of their situation and their craft. A similar approach to craftsmen has already been carried out in Morocco and China. However, this time the social and political aspects of the context of production could not be ignored, whereas in previous experiences, they could be avoided.

There was a need to continue the project and not to abandon it because of the risks that were involved. Therefore, it was crucial to find a way in which to achieve it within the safest conditions possible. It was of upmost importance to adapt to the challenges of the situation. With a better understanding of the different aspects of the project, questions emerged.

How could the project be adapted to this unique situation?

How could the reality encountered be integrated in the works?

How should the different layers of the context be presented in the work?

After accepting the reality of the situation, new decisions have been made. From the concept of working with one specific community, the intention now is to establish a dialogue with the various indigenous communities present in Colombia and represented in the city of Cali. Because of the difficulty to travel within the country, works need to be produced in different ways. If it is not possible to travel to the place where they are made, the works should be able to travel to you. Finally, the problems encountered in the realization of the project need to be translated in the works.

In the city of Cali, indigenous people are organized into cabildos. It is a way to be recognized by and receive help from the government. It is also a means for them to preserve their identity by keeping alive traditions and costumes. In Cali six distinct ethnic groups can be found: Guanbianos, Kofanes, Ingas, Quichuas, Yanaconas and Nazas. Apart from the Quichuas, all other groups are native to Colombia. The indigenous community that I intended to work with is called Papayu and is at the moment not organized in the city and exists only as an isolated group of people. It is not yet clear to me to which group they belong.

From the crafts that are made by the various groups, two distinct elements can be found in common. In a way or another, all of their techniques involve a weaving process with patterns composed of symmetrical motifs. Functionality is another common characteristic.

Having a better overview of the situation, the project had to be redefined and new choices were made.

1. To work with not one but various groups and techniques.

2. To accept that sometimes there will be a physical displacement and at other times a material displacement, depending on the situation.

3. To set rules to frame the work with craftsmen: - Asymmetrical elements - Unfinished work - Non-functional objects - A production budget 4. To define the works as a long-term project with different moments of research, production and exhibition.

5. To seek the opportunity to show the project in an ethnographic museum of Europe.

The aims are: • To present aspects of the geo-political situation as interpreted by the techniques utilized by the different indigenous communities.

• To display the particularity of each of their crafts, while integrating new elements that will disturb the usual symmetrical structure.

• To interconnect the works in order to create an undefined mass that represents a complex network of people, social systems and beliefs: in other words, a structured mess.