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Marcos Ávila-Forero
France / Colombia, b. 1983

Marcos Ávila-Forero France / Colombia, b. 1983

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Open a larger version of the following image in a popup: Marcos Ávila-Forero, Palenqueros: Pechiche, 2013
Open a larger version of the following image in a popup: Marcos Ávila-Forero, Palenqueros: Pechiche, 2013
Open a larger version of the following image in a popup: Marcos Ávila-Forero, Palenqueros: Pechiche, 2013
Open a larger version of the following image in a popup: Marcos Ávila-Forero, Palenqueros: Pechiche, 2013
Open a larger version of the following image in a popup: Marcos Ávila-Forero, Palenqueros: Pechiche, 2013

Marcos Ávila-Forero France / Colombia, b. 1983

Palenqueros: Pechiche, 2013
Tan parchment-like leather, hemp rope, chestnut staves, burnt oak wedges.
170 x 30 x 30 cm; 33 cm. diameter.
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Further images

  • (View a larger image of thumbnail 1 ) Marcos Ávila-Forero, La sucursal del paraíso, 2010
  • (View a larger image of thumbnail 2 ) Marcos Ávila-Forero, La sucursal del paraíso, 2010
  • (View a larger image of thumbnail 3 ) Marcos Ávila-Forero, La sucursal del paraíso, 2010
  • (View a larger image of thumbnail 4 ) Marcos Ávila-Forero, La sucursal del paraíso, 2010
  • (View a larger image of thumbnail 5 ) Marcos Ávila-Forero, La sucursal del paraíso, 2010
The Palenqueros are a series of communities descending from the groups of expatriated slaves from Africa who —after becoming fugitives—settled in rebel territories, becoming the precursors of the emancipatory movements...
More information
The Palenqueros are a series of communities descending from the groups of expatriated slaves from Africa who —after becoming fugitives—settled in rebel territories, becoming the precursors of the emancipatory movements in South America. These communities have survived, reaffirming their Bantu culture and heritage.The pechiche inscribes itself in the history of colonialism and slavery in Latin America. Traditionally understood as a means of communication between Bantu communities, this ancient drum was redesigned — from new, local raw materials—by the slaves sent to Latin America, prolonging its function as an instrument of communication for sending codified and alert messages. The method —and its codes— used to send their messages, have been lost in time, but they can be reinterpreted today from the collaboration among community, ethnologists and musicologists.For Palenqueros, a group of European artisans, who preserve various traditions linked to naval construction during colonial times, were brought together with the goal of redesigning —adapting their knowledge— an ensemble of drums from Palenque culture, deciphering their production only from colonial archives and codices and using only local raw materials. By following this adaptation protocol in order to reinterpret the drum, the cartographic logic associated to colonial history —the triangular trade— it’s being reproduced. Then the object behaves as a material and poetic expression of its own historiographical narrative.

Los palenqueros son un grupo de comunidades de América del sur, descendientes de los grupos de esclavos desterrados del África negra, que —tras convertirse en fugitivos— se asentaron en territorios rebeldes, convirtiéndose en los precursores de los movimientos de emancipación sudamericanos. Estas comunidades han sobrevivido, reafirmando su herencia y su cultura bantú.El pechiche se inscribe en la historia del colonialismo y la esclavitud en Latinoamérica; tradicionalmente comprendido como un medio de comunicación entre comunidades bantú, este antiguo tambor fue rediseñado —a partir de las nuevas materias primas locales— por los esclavos enviados a Latinoamérica, prolongando así su utilidad como instrumento de comunicación para enviarse códigos y mensajes de alerta. El método —y sus códigos— utilizados para intercambiar sus mensajes ya se han perdido con el tiempo, pero pueden reinterpretarse hoy a través del trabajo entre población, etnólogos y musicólogos.Para Palenqueros, un grupo de artesanos europeos, que conservan varios saberes ligados a la construcción naval en la época colonial, fueron reunidos con el propósito de que —adaptando sus conocimientos— rediseñaran un conjunto de tambores de la cultura palenquera, interpretando su fabricación únicamente a partir de archivos y códices coloniales, y sirviéndose únicamente de materias primas locales. Al obedecer dicho protocolo de adaptación para la reinterpretación del tambor, se está reproduciendo la lógica cartográfica ligada a la historia colonial del objeto: el comercio triangular. El tambor se comporta entonces como una expresión plástica y poética de su propia narración historiográfica.
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