Participants
.
Some
of the workshop participants at the cumbre
(summit) c. 4,650m, on the journey from La Paz to Coroico
Photo credit: Henry Stobart
The
organizing team spent hours via skype and then in Bolivia, discussing who
should be invited to the Workshop. The
organizers sought to balance highland and lowland representation, particularly
given the Andean-centric position of Evo Morales’ administration of the time. Gender balance was also a strong
consideration throughout the organizing, although the project did not come close
to achieving it. There were two women on the five-person organizing team and
out of the 20 invited participants, 5 were women. Organizers were also wary of
having too many participants who worked directly with the central or local
autonomous governments. Could so-and-so
of the Ministry of Cultures obtain permission to miss work and then leave her
state work obligations at the door and participate as a musician and
representative of civil society? The
organizers faced multiple dilemmas here. As they circled through names of
possible participants, the heavy political issues of the moment--like the
TIPNIS tent city in La Paz that represented a significant challenge to the
supposedly pro-indigenous government of Evo Morales—also determined who might
or might not have time to participate in a four-day workshop on the seemingly
tame topics of creativity and recognition. Please see the workshop's List of Participants and affiliations.
Rethinking Creativity, Recognition and Indigenous Heritage by https://www.royalholloway.ac.uk/boliviamusicip/home.aspx is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Based on a work at https://www.royalholloway.ac.uk/boliviamusicip/home.aspx