asakiyume: (shaft of light)
Earlier this week, I not only got to see this remarkable film, I was able to participate in a video-link Q&A with the director, Cero Guerra.



At the start of the film an indigenous man dressed in traditional garb (which is to say, just with necklace, arm bands, and a loin cloth) watches as a canoe approaches. The year is 1909. The canoe holds a desperately ill German ethnographer and is paddled by his indigenous (but more assimilated) assistant. "Go away!" the man on the shore shouts, but the assistant, Manduca, addresses him by name: "Are you Karamakate, the world mover?" Manduca says that no shaman has been able to heal his friend Theodore Koch-Grünberg: they all say that only Karamakate will be able to. "I'm not like you," Karamakate replies. "I don't help whites." But eventually he does agree to help.



In 1940, this same Karamakate, now an old man, is approached by a different Westerner, the botanist Evan Schultes (whom we find out is from Boston--he's a fictionalization of Richard Evans Schultes, who, Wikipedia says, "is considered the father of ethnobotany"). Evan is searching for the rare flower that Karamakate had sought out to heal Theo.



These two timelines and stories ripple in and out of each other like the water of the river.



The harrowing effect of colonialism on indigenous people is the large topic, but the near-at-hand one is the attempts of the main characters to understand one another.

In the Q&A, Guerra said he shot the film in black and white to capture the feeling of the actual Theodore Koch-Grünberg's sketches and photographs and also to escape the easy touristic appeal that comes with color filming. Also, he said, when you're filming in black and white, there's not the same distinction between people and forest--everything shades into each other... which goes with the world view there.

Many languages get spoken in the film, both colonial ones and indigenous ones, and among the indigenous ones spoken was... Tikuna! The character Manduca speaks in Tikuna,** and a couple of times I could understand whole sentences he said (... only a couple of times--but I could also catch the odd word here and there). I was so pleased! And I was mind blown when I was talking about the film with my tutor and she said that the actor is her uncle! He's her mother's brother.

some quotes from the film )

The movie is available to see for pay through Youtube and Apple, and is free (but with ads) on Tubi. I highly, highly recommend it.

**I've seen him before: he played the shaman in Frontera Verde.
asakiyume: (cloud snow)
Here are three photos for you. Two I've shared elsewhere on the interwebs, so some of you will have seen them before, but the first one is making its world premiere right here, right now!

Dancing a cumbia with a candle.

Last month we went to see Yeison Landero and his band play cumbia in Amherst. (Here's what his music is like--he throws his head back and goes into a beatific trance as he plays.) It was marvelous.

cumbia candle

When we were last in Colombia, we had one very brief session of learning to dance ;-) The teacher showed us several different styles of cumbia dancing, including one where one partner (traditionally, the guy) takes off his hat and holds it high, then low, as the two partners twirl round. That night in Amherst, the venue was full of people dancing their hearts out, including this one girl wielding a candle like a hat. How great to be dancing with fire!**

Ice Eye

Sometimes the frozen beaver pond glares up at you with a critical eye! (The eye is created by people opening a hole in the ice for ice fishing. It refreezes, and then it's opened again, and so on.)

IMG_0154

Popcorn Blossoms

popcorn blossoms

From swollen buds, just about to unfurl, to a double-petaled flower in all its glory, popcorn blossoms are rightly celebrated for their beauty. As the classical poet wrote

Seeing them explode
ought to be the end of it.
These popcorn blossoms!
--Nothing can keep their buttery goodness
from lingering on my fingers.

(apologies to the poet Sosei and the translator [personal profile] larryhammer for my abuse of Kokinshū poem no. 47. You can read more of Larry's for-real translations in Ice Melts in the Wind: The Seasonal Poems of the Kokinshu.)


**Actually we think it was an electric candle. But let's imagine!
asakiyume: (black crow on a red ground)
It's been quite a while since I posted twice in one day, but one of my friends in Leticia sent me these, and they were too good not to share.



asakiyume: (shaft of light)
UNESCO has conferred the status of intangible cultural heritage on casabe, flatbread made from cassava. It was nominated by several countries of the Caribbean including Venezuela, Cuba, Haiti, and Honduras ... but I remember fondly from Leticia, Colombia. (link.... but I just heard the story on NPR, so later this evening you can go there, too.)

The Ticuna word for casabe is dowü.

Here are some photos of my tutor's mom kindly letting me help with making one. You can make it with grated cassava, which is what I do at home, or with cassava starch (tapioca!), which is what my tutor's family does (and I think it's widespread practice).

... The photos are cropped to preserve privacy, but the woman in pink is my tutor's mom. I'm in orange ;-)

First we strained the starch. The tool used for this is called a cernidor in Spanish, cuechinü in Ticuna.



Then we pressed it onto a hot pan (look at the yummy fish in the foreground!)



And here it is, done!

asakiyume: (shaft of light)
There are rivers whose personhood has been recognized--in New Zealand, Colombia, Bangladesh, Canada, elsewhere too. And now, on the occasion of COP16, the 2024 UN Biodiversity Conference currently underway in Cali, Colombia, there's a legal petition to have Ecuador's Los Cedros cloud forest recognized as a co-copyright holder for a song, created by writer Robert McFarlane, musician Cosmo Sheldrake, mycologist Giuliana Furci, legal scholar César Rodríguez-Garavito--and the forest.

In this Guardian article, McFarlane says,
It wasn’t written within the forest, it was written with the forest. This was absolutely and inextricably an act of co-authorship with the set of processes and relations and beings that that forest and its rivers comprise. We were briefly part of that ongoing being of the forest, and we couldn’t have written it without the forest. The forest wrote it with us.

The organization they're working through is the More Than Human Life (MOTH) project, which describes itself as "an interdisciplinary initiative advancing rights and well-being for humans, non-humans, and the web of life that sustains us all." They have a book, MORE THAN HUMAN RIGHTS
An Ecology of Law, Thought and Narrative for Earthly Flourishing,
edited by Rodríguez-Garavito, which is free to download on their site (link here), as they want people to have access to the ideas and thinking.

In other news, an owl perched in a lilac right by our door this morning, looking for all the world like a person in a parka with a fur-lined hood. Her feet were invisible where she perched, her eyes were black and only black when she swiveled around to look at Wakanomori and me. We had come to see what the disturbance was--crows were making such a racket. Apparently they don't like Madam Owl.
asakiyume: (autumn source)
There's a chair beside the path in the woods. Some leaves have collected on it.

Would you sit on it?

forest seat

I sent the photo to my Tikuna tutor. She said maybe it's the seat of Madre Monte, a guardian of the forest and the animals in it, a terror to hunters, clearcutters, and fishers. She appears in the deep forest when there are storms, is responsible for water-borne ailments, and her screams are louder than thunder (says Spanish-language Wikipedia).

But maybe in her quieter moments, she appreciates a good place to sit down.

It takes temerity to sit in a seat that has "reserved" written all over it, but one of the fairies at my christening blessed me with temerity, so I gave it a try--and then jumped up, because when I sat, I sank riiiiiiiiight in, and I didn't want to find out deep the sinking would go.

* * *

In my dad's front yard there are a sugar maple and a Norway maple. The Norway maple was shedding maps the other day.

maple leaf map

Where would you like to go?

Each map is unique--you take it and follow it as you see fit. You could do this with ordinary maps, too. A map of London is great for navigating London, but what if you try using it in Osaka or Kota Kinabalu or Cairo? It could be interesting.
asakiyume: (yaksa)
Here is the September image from my small-batch printed calendar from the Colombian muralist who works under the name Somadifusa.

I love how very Semper Vivens it is.



Somadifusa has an Instagram here, but you can also see examples of her art on album covers. Here's one for a collaboration between the Afro-Colombian group Plu con Pla and the US-born producer and instrumentalist Biomigrant:



That album, by the way, is great, and available on Bandcamp here.

The name "Plu con Pla" comes from a traditional dish in Tumaco, a city on the Pacific coast of Colombia. The "Plu" is short for the name of a beloved fish, the plumuda. "Pla" is short for plátano (plantain)--> so, plumuda fish with plantains. The band has a song called "La Plumuda Llegó" about life on the coast, fishing, and the plumuda.
asakiyume: (shaft of light)
I spent two days together with my friend and Tikuna tutor this past June. I'm going to post about those days in reverse order.

On the second day, we rented bikes and rode past the airport (the airport in Leticia is adorably small and you can walk from it into town if you want) to the Leticia campus of the National University of Colombia. Wakanomori and I had tried to do that when we were there together two years ago, but the former president of the country had been speaking there and no one was allowed to even bike along the road to campus, let alone visit.

There's a fence around campus, and a gate.

"We can't go in, not without having made an appointment," my friend said. "But we can look at it from out here."

This surprised me, because Wakanomori and I certainly had planned to go on in, and we hadn't seen any indication that we needed to make an appointment ahead of time. But I figured she would know.

"Have you ever been on campus?" I asked.

"Once," she said, "for a school trip. You know, students come from all over Colombia to learn about Amazonas here, to learn about the ecosystem and plants and animals, and to learn about indigenous culture. But people here can hardly ever get accepted."

"That's terrible," I said.

"Yeah."

We admired the grounds through the fence.

A young man was walking by, and seeing us looking, he said, "Do you want to go in? You can, you know."

"Are you sure?" my friend asked.

"Of course--just speak to that man over there."

And the man in question said yes, we could look around campus, walk on the trails, and see the exhibits. "Just don't go into any classes in session," he said.

My assumptions versus my friend's. A brutal reminder of the difference growing up thinking that any and everything is open to you, that you can ask and you'll receive, and growing up thinking that everything is off limits, that nothing (at least in certain spheres) is for you.

But in the end we did get to go in, and it was a delight. There was a display on fishing:

The drawing shows people fishing. In the background is a maloca, a traditional communal house.
on the Leticia campus of the National University of Colombia

How a fishing pole is made
making a fishing pole

My friend in front of a canoe--the water-ripple-like forms supporting the canoe are actually fish shaped! Water and fish are one.


Then we walked along the trails, and we saw an agouti! (The link below is to a 16-second video that keeps looping, so if you don't spot him right away, you'll have an infinite number of chances, heh.) We saw him trotting through the underbrush, we saw him playing in the water, and one time, after we thought he'd gone away, he crossed the path in front of us!

Agouti!


My friend pointed out his footprints.

Agouti footprint

It's wonderful to see wildlife so at home on campus. Now if only **people** could be equally at home there.
asakiyume: (shaft of light)
I love hand-clapping games; they're such a wonderful example of truly folk transmission through the generations.

While I was visiting my friends in Leticia, two of the kids were doing one. The rhyme went

Choco, choco
la, la,
choco, choco
te, te,
choco-la
choco-te
chocolate!


You clapped sometimes with the palms of your hands and sometimes with the backs of your hands--it was great!



When I got back to Medellín, at one point Wakanomori and I passed a line of people waiting for pancakes at a pop-up pancake event. In the line was a girl who was teaching this rhyme to her dad.

Do you have any hand-clapping games you remember doing, or seeing others do, when you were younger?
asakiyume: (Em reading)
A trip

Come Saturday, Wakanomori and I are going on a trip to a language school in Medellín, Colombia, to (a) improve our Spanish and (b) visit a new-to-us city in Colombia. And I get to peel off for a very short side trip to Leticia to visit my friends there.

My friend and Ticuna tutor and I had a video conversation today. "It's cold here right now," she told me. "Na buanecü" ["it's cold" in Ticuna.]

"Oh yeah?" I said. "What's the temperature?"

"24 degrees [75 Fahrenheit]"--which is indeed pretty cold, for the Amazon.

Her grandmother was around, so I said hello to her in Ticuna, and she said hello back, and then Francy gave me an on-the-spot Ticuna test by asking, in Ticuna, "What are you doing?" And I was able to dredge up "I'm talking with my friend," and was rewarded by her grandmother laughing and looking surprised, which probably means mainly that I was really butchering the words, but I took also to mean that I was intelligible, YAYYYY.

... anyway, I probably won't be very active here for the next 17 days and change. "And change," because as soon as I come back, I have to head right out to help out a family member. Though at least once I'm back in the states, I can post.

A graphic novel

I came across this climate-fiction graphic novel in my wanders on the interwebs. It's readable online or downloadable here, from the Instituto Humboldt, in Colombia. I haven't started it yet, but I loved this cover art by Guillermo Torres Carreño.



In the year 2100, the planet is an inhospitable place for the humans and other species that still exist. Hidden in the Colombian Caribbean is Aguamarina, an enclave created by the last remnants of Earth's civilizations ....
asakiyume: (shaft of light)
I think I maybe shared earlier that the Tikuna see a linking between certain creatures of the land and certain creatures of the water: for example, river dolphins are linked with humans--every time a human dies, a dolphin is born, and every time a dolphin dies, a human is born. Thinking of the world population of humans versus the world population of river dolphins, the connection must be between only limited human populations.... maybe just Tikuna.

And they see a similar connection between manatees and tapirs. The symbol for Fundacíon Natütama, a Tikuna nonprofit, shows this with a manatee-tapir creature.

Another nonprofit active in the Colombian Amazon, Fundacíon Omacha, shared another story about manatees that they say is Tikuna--though when I ran it by my tutor, she'd never heard it, so... not sure. But I like the story, so here it is:

It's said that manatees start out as worms on a particular tree. They wrap themselves in leaves, making nests like the nests of the arrendajo bird (which, may I just say, is káurë in Tikuna, the name of the colonial person in "New Day Dawning"). After three months, the worms have the shape of manatees, but it takes a flash of lightning to cause them to fall from the tree into the water. The story concludes by saying that if you stop seeing those trees on land, you'll stop seeing the manatees in the water.

What happens on land affects what happens in the water, and what happens in the water affects what happens on land. Good to remember.

Here are Fundación Omacha's images for this story (plus the text in Spanish). (Originally posted on Twitter on September 12--link to that post here.)




40 days

Jun. 12th, 2023 10:59 pm
asakiyume: (shaft of light)
No doubt you've heard the story of the four children--oldest only 13, youngest only 11 months at the start of the ordeal--who survived in the Amazon rain forest for 40 days after the small plane they were in crashed. The oldest, a girl named Lesly, was able to take care of her younger siblings, including the baby, until rescuers eventually found them.

The children were indigenous, and family members say that they were familiar with the forest, and Lesly had knowledge of which fruits and roots were edible and which were not. And apparently they started out with a supply of cassava flour. Colombian TV had images of a shelter Lesley built for the others to keep the rain off.

When I messaged my guides R & L about the story, they said the kurupira, the spirit of the forest who can either lead people astray or save them, must have been watching over them.

Here is a statue of the kurupira from Reserva Flor de Loto. She's got one foot facing forward and one backward (some representations of her have both feet facing backward), which confuses trackers. She can change her appearance to look like someone you know, but her feet are always the giveaway.

kurupira

My guides also talked about the rescue dog, Wilson, whose tracks led rescuers to the kids--they talked about him because Wilson vanished. Like a trade: Wilson agreed to stay in the forest, and so the forest released the children.

... which is something that feels more comfortable to think about as a story than in reality. In reality, when a real flesh-and-blood dog is involved, you want him to come back as well. Here's a picture of Wilson that Lesly drew (from the paper El Tiempo)



And here is some art from CNN Español



There was a team of indigenous rescuers with the military rescuers, and when they found the children, they sang a song to welcome them back to the human world. The song was to encourage them to leave behind the heat of the forest and take up the heat of humanity.

Quite a story.
asakiyume: (yaksa)
"We thought that the jambato toad was gone forever until one morning in Angamarca, Ecuador, a boy found one in the grass by his house."

This beautiful song by the group (family, actually) Jacana Jacana is about Atelopus ignescens, a little black toad with a golden belly: he carries his own sunshine with him. It was believed that this toad went extinct in the 1980s, until 2016, when, as the quote says, a boy discovered one by his house.

Near the end of the song, the chorus is sung in Kichwa (Quechua), a common spoken language in that part of Ecuador, and at the very end, a voice says, "May the little black toads return and gladden us with their song." The credits tell us that that's David Jailaca--the boy (well, man, now) who found the toad that proved that Atelopus ignescens were not extinct after all.

rough and ready translation of the lyrics )

The story of Atelopus ignescens is moving all on its own--to see that against all odds the small and fragile creatures of the world sometimes recover and return, even when we think they're gone for good. But the lyrics add an almost religious sense of faith: "although nobody had seen you, I knew you were alive, and so I searched for you--and then I found you." The black toad with the heart of fire is like a divinity who withdrew from us for a while... and then came back. ~ ~ Gratitude ~ ~



The family comprising Jacana Jacana (a couple and their daughter--here's an article about them), specialize in songs about the natural world--they sing about insects and amphibians and mangos, and wherever they are, they get the children in the area to join in the singing and the videography, and their songs feature words in the indigenous languages of the places they're visiting. So they're celebrating and lifting up multiple types of diversity.
asakiyume: (shaft of light)
I learned so much in the Amazon: one, that the river inhales and exhales: when it has breathed in deeply and its waters extend the farthest, tall trees are underwater and the fish feed on palm fruits. Maximum expansion is March. And then it exhales, shrinks-shrinks-shrinks, and temporary islands appear, and people rush out and take advantage of the 40 cm of rich soil the river has left to grow quick crops that can be harvested before the river rises and swallows the islands back up again. The river is at its lowest point in September--at which time you can walk to the island across from the pier where we got boats when we went out on the water (this is on a tiny tributary--one of our guides called it a creek--but it looked pretty big to us!)

I saw all the types of liminal houses: houses on stilts, floating houses, and house boats. Here is a floating house.

floating house, Amazonas

I have more stories to share (of course!) but we caught Covid (despite everything; we were vaxxed and masked to the max), so I'll probably still be a little scarce around here for a bit.

One more thing before I go: I loved how indoors and outdoors blended. Here's a coffee shop and bakery where we stopped on the way back from a bike ride:

cafe and bakery "Anali"
asakiyume: (glowing grass)
I did a chalk drawing of an angel offering an apple to a fox (... if foxes can crave grapes in Aesop, then they can be offered apples)--I had the angel leaning out of a sky window because I love that conceit. The fox came out VERY wonky in the body, but I like his face.

The feet belong to the next-door neighbor girls






I finished right before a good, drenching rain, so now the angel is a ghost:



In other remarkable news, a plant grew in the pot I had planted calendulas in. It looked vaguely familiar--some kind of nightshade-family plant, but what? Not a potato; you can't accidentally plant a potato. The leaves were wrong for tomato, and they didn't match up with common nightshade that I see around. They were fuzzy and lovely. Recently it got buds, and finally a flower, and with THAT I was able to take to the internet.





It seems to be Physalis peruviana, known in English as Cape gooseberry or golden berry, and first encountered by me in Colombia under the name of uchuva. It was available as a compote every morning for breakfast where we stayed, and I bought a bag of them at the market the day we left.

It's a kind of ground cherry. A more common-for-here ground cherry is Physalis pruinosa--in fact, the first place we lived in western Massachusetts had those growing wild. And the flowers look pretty much identical--it would make more sense for P. pruinosa to pop up unannounced in my flowerpot than a plant that's native to Peru, Ecuador, and Colombia.

But the local ground cherry ... grows along the ground. It doesn't stand up straight. This is standing up, proud and tall--which is what P. peruviana does. And although it's not ***native*** to this area, it's **cultivated** all over the place.

Either way, it's edible. But I'm going to think of it as P. peruviana, and look forward to some home-grown uchuvas at some point.


Never mind: I remembered that the plant we had at the other house was a "clammy ground cherry," and THAT plant's botanical name is P. heterophylla and guess what. THAT is what I have. It stands up tall, too. Ahh, well. This one is edible too! Will see if I get any clammy ground cherries ;-)
asakiyume: (yaksa)
I've been listening to a lot of music from Colombia's Pacific coast; I love it. This song, "Yo bebí del agua turbia" (I drank the cloudy water), is not only beautiful itself, it has a beautiful video to go with it. Ever see a video of a place and feel homesick for it, even though you've never been there?

The white lacy dresses the women are wearing: I remember my sister and I had UNICEF cardboard figures from different countries, with facts about the countries written on the back. I had a girl, not from Colombia but from Panama, wearing an outfit like this, exactly like this, and I was entranced by it. I wanted my mom to make me a dress like it. That didn't happen! But I can still remember the cardboard figure of the girl from Panama, holding out her skirts.

Yo bebí del agua turbia
Porque me apuro la sed
Yo bebí del agua turbia
Porque me apuro la sed

Nadie diga con orgullo
Que esta agua no es de beber
Nadie diga con orgullo
Que esta agua no es de beber

I drank the cloudy water
Because I was pressed by thirst
I drank the cloudy water
Because I was pressed by thirst

No one tell me arrogantly
That this water is not to drink
No one tell me arrogantly
That this water is not to drink


I went searching for the lyrics and found a book of couplets from the Pacific coast, including one that's almost exactly this:

Yo bebí del agua turbia
Porque me apuro la sed;
Nadie diga con soberbia
Que esta agua no es de beber


("Soberbia" also means pride, arrogance) I've asked for the book on interlibrary loan because I liked what I saw along with this one on the Google Books page result.


asakiyume: (Hades)
“Do not store up for yourselves treasures on earth, where moth and rust destroy (Matthew 6:19)

That's a common enough adage and moral lesson, but for some reason the portrayal of it in our current Colombian series was visually super affecting and got me thinking.

One of the secondary characters is an army officer, undercover in a mission to take down the supply portion of a drug operation, but he seems at times to have lost himself in his role, though he insists to one of the main characters that that's not the case. In a scene about halfway through the series, he hies himself off on his own in a canoe, drags it ashore, and heads off into some portion of the rain forest armed with a map. He digs into the wet earth and uncovers two pots that contain guns on top and underneath---

Cash money! Benjamins!



Cackling with delight, he plunges his hand in and pulls out a fistful.



And then...

It comes apart in his hands. Turns out a shallow grave in a humid location isn't the best storage decision for paper.



And the character is almost driven mad ...



(The actor's name is Toto Vega. The show is called La Ley Secreta/Undercover Law)

In that moment, the money goes from being a symbol and source of power to rotted paper. When an authorized agent prints money, it's like it imbues the money with a kind of soul. A soul of commerce, I guess. A soul of exchange. No longer a piece of paper, now it's a token that gives you access to things.

But he went and buried it in the ground, like a dead thing, and deprived of its role as a token of exchange, it did in fact die. And now he's holding mere corpses.

.... Well then! That concludes my weird meditation on cash.
asakiyume: (cloud snow)
I saw dreadlock, deadlock, and deadname in quick succession and started thinking about not hair or tangled traffic or trans rights, but about a dreadful lock, a lock that dies--is executed even. A dead lock. And I thought, how do you kill a lock?

Answer:

The key was turned
The bolt slid into place a final time
Then liquid copper was poured into the hole
--the whole plate melted, a metal smear—

Then prayers, candles, incense
No more will people pass through here

--- * * --------- * * ------------ * *


[personal profile] osprey_archer posted a very fun, very short Valentine's extra for her novel Honeytrap, readily understandable even if you haven't read the novel. All you need to know is it's set in the 1950s, and the characters are a Soviet agent and an American agent who are working together (for reasons). It's a discussion of the capitalist nature of Valentine's Day as celebrated in the America. (Read it here!) And then, coincidentally, a friend linked me to this TikTok video where a woman talks about how capitalist Valentine's Day is, and then provides links to her free anticapitalist you-can-use-them-for-Valentine's-or-any-day cards. I liked "Workers are Billionaire Creators" best.

~ -------------- ~ ---------------------

I love this art, located in London, by Colombian street artist Stinkfish:



Detail:



(Source: Hooked: Street Art from London and beyond)

+ ------------ + ------------ + ----------------

I'm doing some pro bono work for a friend of one of my kids, who's written about the Titanic. I reached a passage where it talks about the SS Californian, which was very close but didn't render assistance, and he describes how it seemed to the Californian that this ship--they didn't know what ship it was--that they had noticed was moving away from them, getting smaller, when really what was happening was it was sinking. It made me think of that famous poem by Stevie Smith, "Not Waving but Drowning.

* --------- * --------------* ------------------*

Well that would be a bad note to end on! So some light humor. Someone used Google translate to translate a packet of Chinese rice crackers and got this:


(Twitter source)

One of my kids retweeted it with "tag yourself"

So go ahead: Who are you?
asakiyume: (feathers on the line)
I've been listening to a two-CD collection of some of Colombia's most famous cumbias, and the one that's my current favorite is "La Piragua," the tragic story of the sinking of an ambitiously large piragua (pirogue--like a long canoe) on its maiden voyage. This cumbia, written by Jose Barros, has been sung by bunches of different singers in bunches of different styles, but this is the version I heard, so it has pride of place in my heart. But for instance, there's this much more romantic version, complete with pan pipes sung by Carlos Vives.

lyrics and attempt at translation )

The line that grabbed me when I was first listening was the ejercito de estrellas la seguía (an army/host of stars followed it), and when I understood that the next line meant "studding it with light and legend," I was very hearts-for-eyes.

The story goes that Guillermo Cubillos commissioned this giant pirogue to ferry goods between El Banco in the south and Chimichagua, to the north (see helpful map).



According to the dramatization on this page, the pirogue set out for its maiden voyage on November 1, 1929, met a storm, and sank. (The dramatization is done by children, and they do a super-charming job, but apart from the performance quality, the dramatization has all kinds of details--the names of all the oarsmen, what the pirogue was carrying--I'm not sure if all of this stuff is known fact or if creative liberties have been taken, but the dramatization was created in Chimicagua itself, so maybe it's all true?)

I love that page, by the way--It's a subpage of a project called "Las Fronteras Cuentan" (The Borders Count), created by the government to highlight and share the stories and traditions of marginalized parts of Colombia:
Radialistas, indígenas, jóvenes, mujeres, campesinos y diversos colectivos de comunicación son los encargados de investigar y narrar las historias sobre sus territorios de frontera.

And on the page on the story of Guillermo Cubillos, I found out that the "beaches of love" are in an area called la Ciénaga de Zapatosa (Marsh of Zapatosa), which is--so the page tells me--the largest reserve of freshwater in the world. I started out with fun music and found a folktale, a marsh, and an effort to amplify the stories of marginalized people in Colombia. I feel **happy**.


asakiyume: (glowing grass)
We didn't make it to Medellín on this trip to Colombia, but in reading through our guidebook, we discovered that some distance outside of Medellín, drug lord Pablo Escobar had his private ranch, Hacienda Napoles, where he had, among other things, a menagerie of exotic animals, including hippos. After Pablo Escobar's downfall, the other animals were taken to zoos, but the hippos had managed to elude capture... and established themselves in Colombia's Magdalena River (and other watery locations), which they apparently LOVE.




(images from this National Geographic video about the hippos)

There were originally four hippos--and now there are more than 40. Unlike in Africa, there are no predators in Colombia, and there's also no hot, dry season, so the hippos are having babies every year instead of every two years, and they're coming to maturity sooner.

I thought this was a kind of amusing invasive-species story because usually invasive species are ... smaller? Zebra mussels or Japanese beetles or starlings or rabbits. But hippos are the third-largest land mammal (after elephants and rhinoceroses); adults weigh more than a ton. Hippos are not quite a godzilla-level invasive species, but they do represent a challenge for the ecosystem; Colombian zoologists worry about the impact on the local manatee population.

Lucy Cooke, a zoologist and filmmaker, has a great nine-minute video (and you can get a transcript if you don't like watching videos) describing the situation, here. Hippos may look kind of dopey-cute, but they're apparently pretty aggressive. It's made worse by the fact that male hippos have harems (the original four hippos were one male and three females), and they kick out newly mature male hippos to go find mates elsewhere--but of course, there are no other females elsewhere for these poor newly grown hippos. So they're lonely and sexually frustrated.


(image source)

Lucy Cooke said killing the hippos was unpopular among Colombians, so they they decided to try castrating the male hippos. But this is apparently very, very, very hard to do--it's hard to sedate a hippo because of their fat; you don't want the sedative to take effect when they're in the water or they'll drown, and--hippo testicles move about in their bodies when they're under stress, so you've got your sedated hippo, and now you have to find his testicles. .... Okay, they don't move around that much--they don't troop from the groin region up to the shoulders or anything like that--but apparently they can move like eight centimeters or so. One castration cost around $100,000, so that's probably not a solution either. She thinks they'll establish themselves and become a new subspecies eventually. Maybe the manatees and hippos will work something out...


Sources:
Marta Rodriguez Martinez, "Colombia Declares War on Pablo Escobar's Hippos," Euronews, February 2, 2018.

Lucy Cook, "Pablo Escobar's Hippos Are Now Colombia's Problem," Big Think, July 10, 2018.

Wikipedia, hippo entry.

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