Los Papelípolas or The Papelipolas was a group of artists from Huila Department, in the Republic of Colombia arising in the year 1958. Their productions in the fields of theater, the narrative, the drawing, the cinema, the television and especially in the poetry, have been widely recognized and disseminated, even several decades after its dissolution. It was disbanded in the mid-1960s, and the components continued writing independently. The group's name is papel (paper in Spanish) and pola (cerveza or beer).
Contents
The components
The group's regular payroll poetic Los Papelípolas is limited to six authors: Gustavo Andrade (highlighted in the fields of drama prize, winner in France, Spain, Costa Rica, among others, in film as screenwriter of the film The River of the Tombs; librettist of radio, television and short film director and producer of La Cantina de José Dolores). The others were apathetic to the events and to the movies, but with valuable works: Angel Sierra Basto (pseudonym of Victor Manuel Cortes Vargas, poet, education engine in the Huila, and politician, author of Dimensions, 1963 and Xenias & Apophoretas of Menein Laos, 1994), Dario Silva Silva (poet and current Archbishop of House on the Rock, one of the forty most influential men of Colombia according to Semana magazine); Ruben Morales Buendía (erotic poet and one of the first cartoonists Huila), Julian Polanía Perez (poet and politician, author of The concept of Grief, 1958, and Narration of the Living Faces, 1963) and Luis Ernesto Luna (poet, bureaucrat, dedicated to political propaganda, author of Memory of Silence, 1988). Delimiro Moreno in his work The Papelípolas, Poetic Essay on a Generation (1995) added to Armando Ceron Castillo (author of Beyond Words, 2010 ) and then talked about Camilo Lara Cuenca as an appendix of them, with a recently published poetic production (Así Canta mi Lira, 2005), almost posthumously. The themes and style of these poets were always very heterogeneous group, as their spiritual and political ideology.
Two of them, especially with shared affinities with the Beat Generation: Angel Sierra Basto and Luis Ernesto Luna.
The attribution of movement
The label of "movement", may be inaccurate. The ideals and artistic group shares similarities with the Beat Generation and The Hungry Generation. The papelípolas Angel Sierra Basto and Luis Ernesto Suarez alluded to Nirvana, the Upanishads, Buddhism, to free sexuality, alcohol and drugs as leaks. Other reasons given for giving the label of movement (as Colombian Beat generation, which it shares with the nothingness Antioquia), was that none of its members turned professional as a response to the educational model of unbridled capitalism. For some, a result of their political ideology, for others, economic limitations, but it is common. All this feeds the decadence French Huysmans (as evident in the prologue of dimensions of Angel Sierra Basto by Luis Ernesto Suarez and the Thebaid of Ananké), French writers Charles Baudelaire (Les Fleurs du mal), Gérard de Nerval, Arthur Rimbaud and Parnasianism of Paul Verlaine, also at Nicaraguan literary modernism Rubén Darío. Sierra Basto, the more Beat of all, tried to deconstruct the language with their Rhymes Rune, and other poems full of neologisms. Meanwhile, the founder of The Papelípolas, Gustavo Andrade was counter to provincial level, with his first Manifesto Papelípolas, letter to Ramiro Bahamón by the poet Silvia Lorenzo to national poets gathered in Medellín in 1958, and published this year in the first of three Notebooks Huila group: Concept of Grief with poems Julian Perez Polanía, also with his essay Neiva needs a mayor who wants to Neiva and enjoying universal recognition plays like cutting.
The artistic value of the Papelípolas, was the subject of several pages of authors like David Rivera Moya, Roger Echavarria, Oliver Lis, Delimiro Moreno, Félix Ramiro Losada and Jorge Guebely. However, the label "movement" has been accepted by custom, though its definition has been as diverse and controversial.
The Manifesto of The Papelipolas
The First Manifesto of Papelípolas was a letter from Gustavo Andrade to Ramiro Bahamón, which was filed with the acquiescence of the group by the poet Silvia Lorenzo before nadaístas poets among others in Medellín in 1958. This manifesto was published in the first of three books published huilenses that (his first broadcast medium), edited by Gustavo Andrade, Concept of Grief of Julian Perez Polanía.
Publications
Input publications in literary tradition were undoubtedly the Notebooks Huila, achieved by successfully managing Gustavo Andrade Rivera to Intercol (International Petroleum Co.) and then the Echoes Magazine night baccalaureate José María Rojas Garrido with Angel Sierra Basto in the lead editorial in the year 1963 and 1964.
Select publications:
All six poets published in the Journal of the Huila.
After the dissolution of the group were other publications, among which are:
Dissolution
The solution was placed according to a newspaper article from the 70's attributed to Luis Ernesto Suarez, about the year 1962, claim that we know is false, because the third Huilense Notebook that is the Angel Sierra Basto Dimensions is the year 1963, as Narration of the Living Faces of Julian Polanía Perez. The solution is given almost equal to the group Beat and beatnik, in the sixties, immersed in countercultural movements. It could happen in the year 1964, with the departure of Gustavo Andrade of Colombia to Costa Rica, hoping some of consecrated as playwright abroad (which succeeded being awarded the prize of the Paris Theatre, among others), or the death of Julian Perez Polanía in a car accident in 1965.
Papelipolas, The Movie
In 2013, the writer and filmmaker Oliver Lis and the Spanish producer Blanca Rosa de Aguilar, began shooting the film The Papelípolas, Twilight of a Poetic Generation with the survivors Armando Ceron Castillo and Dario Silva Silva. Colombian-French-Spanish production, attended by the former Minister of Justice of Colombia, Guillermo Plazas Alcid, the former governor of Huila, Julio Enrique Ortiz, and the writers Jorge Guebely Ortega and Delimiro Moreno, as the descendants of the poets. The film is part of what its author called Phenomenological Cinema.