Engabao

Final Workshop Report

Ruben Noriega Jury
Grafica popular and street art in the square of Engabao
Objective.

The main objective was visible, sharing, and learning the art having the Commune in its popular graph. The initial proposal for this project was to link directly painters of popular chart Engabao with the youth of the Commune through a painting workshop taught by the same painter in the development of the proposal we discovered that this workshop for the time being was feasible, because we had problems with the lack of preparation of both painters and youth. Meet this challenge was very important in the design process, because for that were the trips to the same residence.

After we decided on the advice of John of the A, leader of the commune, to paint the square of the central square of the village head was a good idea, give visibility to the popular graphic besides being a work for the good of all. Then the material project aimed to create and finalize logar residence during a joint work among the painters of popular chart Engabao and me.

Secondary objectives in the process of this work were to open a door with painters and other community groups, sharing knowledge of all parties to make the project a communal experience, both at work and in creation. Painters working together for the first time was also a challenge and a goal. In my case I was carrying out research on popular graphic in Canton Villamil Playas then this first field experience, seen from the anthropological point of view was fundamental to know the people of the commune, your daily relationship with the popular graph, reach form a true friendship, and above all understand some of the identities of people Engabao was a target too.

For the partner side - economic was an objective, through visibilizarían and assessment work of these painters, that somehow this project push their job and visually attracts other inhabitants of the Commune as well as other artists and visitors of Engabao. Still another objective was to raise the self-esteem of the painters, they realize how art they do is important and if it is valued both within and outside of the Commune.

Finally the project wanted to leave nicest people, the graph has an aesthetic, a particular way of expressing its inhabitants, and wanted this print is visible for the enjoyment of the community and visitors.

                    

Local social sectors.
The project consisted of two parts, one where we took a painting workshop for children / adolescents and another where we work directly with artists.

In the first part we work with about 50 children / children and youth aged 5 to 17 years, was a workshop for those who wish, regardless of gender or class, so we had all kinds of economic status, but mostly poor families.

In the second part of the project where we painted the gazebo work with men around 30 years, fishermen and artists.

Also during the experience helped families living near the gazebo, as the ladies of the nearby shops selling their products and give us their opinions, too many times we receive help men who frequented the square of varying ages from children to seniors, them with their stories, their company and often supported the project going.

Context Connection and partners. Local leaders identified
The relationship with the context and his colleagues had ups and downs, we received the support of the leaders of the Commune, as John of the A and Damian, who mobilized a team to meet us, to cook and support as necessary, I think it could be better especially the presence of John of the a, that might have accelerated processes within the project, however remain very pleased with the support we receive from the community, they made an effort.

The most complex parts with collaborators were relationships with painters, although all paid off and I always had confidence in the project, there were difficult times, sometimes there was a lack of interest, other times it was difficult to communicate physically speaking, as did not have cell phones, we had to go home, sometimes were sometimes not, but it was all part of knowing and understanding go over that was the project.

Stages and methodology. Collaboration among participants from Gaza.
The project was developed in three stages, space reconnaissance, a development project and the last execution.
Recognition of space:

This stage was for two trips to Engabao prior residence on these trips I met the community and through the leader Juan de la A contacted painters graphic popular, besides knowing the commune, here I made a survey of the spaces , a first photographic records and held discussions with various artists and community people away simply related to the foundation. We met with the painters, the project planned workshops for youth and designed what would become the workshop.

On a second trip in a preliminary way we did a painting workshop for children and youth in the community, at this stage involved María Isabel Rueda, who provided significant support to the workshop especially on the issue of handling materials and teaching it, this stage was complicated because we have the problem that the painters did not come to the shop and had to give ourselves. This project took a turn, we decided between Maria Isabel and Maria Fernanda Cartagena was not feasible workshop taught by painters, but it was best to take the project on the other hand, working exclusively with the painters.
From there began the development of the final project, graffiti roundabout.

Development:
Then proposed to the painters painted the gazebo, they do like a good idea, just to be a work for the community with the identity of his painting, always kept several conversations where the views of all were the idea of ​​building the painting.

Execution:
During the ten days of residence execute the work in the first three days Jimmy Lara exchange their drawing skills with painters, after several conversations with them we decided it would be like the structure of the painting, which was to be the subject and mix on stencil technique with the popular graph. After the stage was already materializing the work, for 6 days we were painting the gazebo.

The methodology used was in talks with artists, taking into account the interests of each and always agreeing without imposition of any party. From my part I went through a process of creation that was given as the first days of execution, use the stencil, not only as a different technique used by painters for them to learn something new, but also as a trigger of the project because I felt the need to start painting and it starts up, but put us in a spiral seemed to talk a lot and do little.

This process was based on photographs of the mural we had done with children and other images taken during the first three days, the photos were of the children of the Commune, from these images I generated the stencils that would go in the gazebo with this was the idea that children are present in the work, as inhabitants of the commune, as an essential part of that village.

For me the methodology was influenced little on the creative process and work of the painters, for they more I carry the craft of painting, especially they have their way of working in this way was to be comfortable to be able to paint felt what they wanted in the gazebo, was not a work by order, was one of them work for them and in the end we all felt that.

Networking and communication.
Challenges, obstacles and solutions
The main challenges were to link the 4 painters and get them interested in the project and make it their own. To this end I held several conversations with them both together and separately, it was important to understand their family, work, economic for guiding this process conditions.

Another challenge was the approval of the community to the project because it was not just our idea embodied in the gazebo, it was to make a work that is also liked by its inhabitants, for this I talk to people walking down the street, all and all I could ask your opinion, so we did while we painted, in fact several ideas of what should be painted out in talks between community and commoner. One obstacle was the remoteness of the project one of the painters, "arm", he did not feel comfortable with the project, I could not delve into all the reasons but chose not to participate in a conversation between the two told me that was too much competition.

These challenges were solved through perseverance in the process of looking for painters, talk to them, to create confidence to express themselves freely.

Fruits or anticipated or unanticipated effects, tangible or intangible.

The largest fruit was able to successfully complete the project by maintaining a list of all respect. At the end there was a very strong interest from painters to participate in other joint projects, they were very interested in being able to travel to show their art beyond the Commune.

In addition to painters was the first time they worked together, this was a goal of the project but they are more than what I expected the satisfaction of having done reflex. Elsewhere on the comments of several people of Engabao I could feel the positive effects of painting, reflected in the paint, and an aesthetic level tube rave reviews they felt.

What criteria would you use to assess the impact and incidence of work?
The criteria to evaluate would be:
If the inhabitants of this work is careful
If repeating the commune there is a positive response from residents and painters to perform other similar works.
If young children show an interest in future workshops of painting.
If visitors to the Commune the work is attractive to them.
If increasing the appreciation of the work of painters, for example if they have more contracts to paint, if they have welcomed the work, if they themselves have decided to devote more or less to painting.
The interest may exist after this project from other artists or art collectives in popular graphical area.
The interest may exist in research on the popular graphic of the area after this project.
As the media reacted against the project
Like the other artists responded to the residence in front of the project.
Projection

This experience was very important for my thesis research project Mastery Visual Anthropology at FLACSO, therefore the project is going to have much more visual in my research and in a documentary that is part of my thesis, images and experiences residence were part of this project.

It is my interest to continue to assist the community to develop other works related to the popular graph where more and more community groups are integrated. We can also generate exchanges between artists from other Municipalities, starting with the closest and regional town, Playas Villamil, even cities like Guayaquil, Quito and Cuenca, etc. An idea born Maria Fernanda Cartagena was to make a meeting of popular painters in the area.
These are just some of the projects that can start from this experience