Latest / Tecuento / Tecuento T3 P 29 - Amistad / Berta S. Brunfman

Transcript

Tecuento T3 P 29 - Amistad / Berta S. Brunfman · Tecuento

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I call a program to share. Drive Daniel Bellinzone Friday from 13 to 14
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hours by radio trend Topic with the stories. It' s not a technical
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flaw. Listen to me the silence here distant to every second bombards all the
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information of different kinds and sometimes makes us lose sight of many things. Today
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we are going to start this beautiful program I tell you with a comment.
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It' s politically incorrect out there. But why are we so hypocritical.
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They taught us to be hypocrites, they went to us and used to be
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hypocrites. We come from Governments that have washed out language, that have banned
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expressions and vandeed to another Government that is free to express itself. That would
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be a way of looking at it. We' re going from one end
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to the other. In the middle still no one got because everyone bet to
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the maxim more and more, more and more. Just bet. But there
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' s a reality that marks the story. History has made it clear,
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since it is humanity, that sports meetings, since before the Colosseum and after
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the Colosseum, people met, or had people gather together to express, to
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transfer their things, sometimes their broncs, sometimes their desires, but transferred to
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those men and women who were in the field their desires. It' s
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fun. That is why competition, healthy competition and expression are important, because
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that is transferred later, nothing happens, or if it happens is that they
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are already other types of groups, other interests that want it to look like
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it was caused by all those people to enjoy the sport, the encounters,
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to manifest themselves, to express themselves, to externalize things is necessary. How
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many times we say here, talk about the situation, talk about things are
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solved by talking good. If I go to the court, I' m
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going to watch a game that sometimes good, sometimes bad, sometimes I fall
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asleep. I remember a game I fell asleep but I can express it.
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I scream it in the air and I don' t hurt anyone. I
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scream it in the air and if there are others, what they think like
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me, it will be the same scream in the air. Now we also
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do not want to be so neat as to deny history, to deny those
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who wanted to conquer them, those who in this twenty- first century treat
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as slaves those who are not of their land, to which they do not
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have their color as if they had not come to them from other lands and
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of other colors. That' s why today, as the opening curtain of
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I tell you, it was the silence if I tell him that it'
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s going to give us the calm and the silence that we' re going
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to break now because we' re going to chat with a friend Bertha,
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Susana Brukman, writer, oral narrator, and we' re going to share
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with today a few nice minutes. Hey, Berta You' re there.
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Crec believes, he believes. They tell me one. Juan is Berta,
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he' s berta, well, let' s go do it on him.
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In the meantime, something else. Yes, if you will allow me,
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you have to notice John, you want to communicate with her. There
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' s this Vertaao, hi, hey, you' re all right.
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And now you are, Daniel, now that I found you happy, happy,
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yes, because you were lost. You have me that there is video
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with you you have to see me. There' s got to be an
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image. There, there, there? He' s here, because my
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assistant Emilia helped me. Sometimes they tell me to come to my zoom,
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but in the lord I am assistant, Miriam, I can' t because
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I make trouble. Okay. The thing is, we' re young.
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We are still learning, of course, of course, and we have so
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much to learn. Daniel n one true. If we want to learn to
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teach young people, we have to learn first. Yeah. Yeah, yeah,
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yeah. That' s why I made the opening that I made bet
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writer, oral narrator, something else not this one. At one time I
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studied fine arts because they said I drew very well, but I just got
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the title. But for a long time I drew and painted a lot,
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I didn' t draw much, and I liked being recorded too. But
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then, over time, well, you go choosing where you want to stay
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on the art road, which because art is one. Art is one.
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It' s just conveying emotions, and that can be transmitted in so many
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ways, in so many ways, but you have to find the place where
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you feel comfortable how you got to writing. Well, I started writing since
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I was a girl. Writing for me was a relief I lost my dad
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very small, I was nine years old and I started writing poetry, very
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tearful poems and dedicated to him. And I realized that it was a very,
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very good way to vent for me, because I could share with others
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what was happening to me. You can' t say I was creative,
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because creative wasn' t just a way of saying to me this is happening
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to me and I solve it by downloading my emotions into a sheet and I
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realized it was doing me good, and then I kept writing stories, poetry,
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issues that had to do with my mood. But then I left some
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time and with the narration, listening to other very good companions, all of
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them narrating their own themes and also those of other writers, I was lit
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up again that sparkle. I realized everything I could say, everything I hadn
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' t said and to do my shows. When I was doing the shows,
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I told the stories I was writing, the stories I was writing,
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which are the ones I was able to publish in a book called Diferremos tales
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that I love to share with other companions and with anyone who wants to read
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it. It' s not right. It means you didn' t have
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a specific reference. You weren' t many courses. I did many courses,
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but rather theoretical courses where I listened to what writing was about. I
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took courses with Vicente Batista, listened to Marcelo Birmaher and others. I was
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nourished to hear how it is written, to write and to make reading groups,
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also that that helps a lot to write, but workshop as well of
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writing where they would indicate to me concepts so that I would build my stories
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personally. Not that, we weren' t talking about generality, but,
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for example, in Batista' s workshop we were about a hundred people in
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the national library. It was a miracle we gave him the texts. And
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it was a miracle that our text could be read criticized in the class.
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I did it once, but it wasn' t frequent. It wasn'
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t frequent and it served me a lot. Go to the workshops of the
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National Library. It served me a lot. Yeah, me. When avis
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knows the contagion, uh, yes, I do. Sometimes when I listen
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to Marcelo, I' m surprised as he' s so sorry. He
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poses situations that ops escape from a reality, linear reality. No, I
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mean, he makes his plant, he flies Yeah, yeah, yeah,
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yeah. Then in pandemic he says many courses as listeners as well and practical
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with a girl who is called. I don' t remember the name,
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but the last name is Martorell. Martorell is a Chilean girl who also taught
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us writing and very good literature. I recommend it and every now and then
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it is in some very nice courses, which is called pocket workshops, pocket
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workshops that appear on Instagram and Facebook, that can consult us and that are
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very good courses. It means that your thing is about your life, what
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you went through, what happens, and not only that They' re not
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autobiographical. My stories, what I write is not autobiographical. Something enters from
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now on because it is in what we mean no, but more than anything,
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to write we have to be an observer of life, a sensitive observer,
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and then there are stories that one hears so circumstantially and that, perhaps,
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that story, that person we are not going to speak it anymore,
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but he left us something, something so that we can say it from writing.
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You have to be aware of that, because sometimes you find yourself already
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I tell you with people with a very rich life who make us a confession
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and, maybe, what you' re telling us is something that will help
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us write a story, to write a poetry, a novel, because that
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then grows, that was the idea of what you told us, and then
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we' re making it grow. In the workshops that I was always told
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us to be attentive to what happens. If you go to one if you
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want to write, don' t turn into mobs, but more creative enchus.
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Not if you stop the ear something that is happening at the other table,
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b in a collective or down the street put it in the retina and
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take it with you because it will serve you to build stories, because there
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comes a moment that everything that we saw is exhausted. Yeah, and besides,
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it' s boring, yeah, no, no. The funniest thing
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that I take care of is being a walk- up chumbas, I listen
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in a cafe, a coffee shop, in a restaurant, what I keep
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listening to and sometimes talking to strangers, sometimes an excuse. Yeah, yeah,
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well, let' s hope we don' t see that person anymore,
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because we' re going to have a problem, even if it'
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s changing a few situations so he doesn' t look so reflected. But
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you can adapt the stories that impact us and that we hear from others can
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adapt and be a writer and write what you lived, what you heard from
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the narrative, how you get to the narrative and the narrative. I arrived
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by chance because I was doing a watercolor course at the 25th of May cultural
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center. It was the cultural center of the neighborhood where I lived and when
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I found myself giving courses, it was kind of an obligation. I felt
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like approaching there, because that place was abandoned for many years, but the
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structure was not preserved miraculously, but it was very very abandoned during the seventies
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and the eighties also very abandoned and they were going to tear it down.
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It was where I went with my brothers when I was a girl and apart.
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It' s a historic place because that was Gardel' s last performance,
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the last one. Then he went to Colombia, No, and when
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I saw that they gave art courses I noticed watercolor in a dependent subject.
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I liked the group We were Poquitas, a young Russian teacher. It was
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taught very well, but what happened there. The courses immediately arose a mystery
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because there were people who wanted that place for other activities. As always happens,
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and then the watercolor course is over. I got really bad and I
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said I' m gonna do something else. I saw narration. I thought
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it was writing, because I wanted to learn some techniques and when I went
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to class, the class gave Alice to Landau, she is the protagonist of
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the aurita that I was preparing now. Alicia Landau was one of the teachers
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of the Ana Padovani anapate group. He came once a month to supervise and
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teach. She didn' t, too, because I already had her high
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school and I liked people. I liked Alice a Landau liked very warm and
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good. When she came to teach, she turned me around because I never
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had such a talented and creative narrator and I really liked her, I really
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liked what we did with her and I said good. I' m staying.
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I' m going to stay, because you can talk about it here.
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They still don' t listen to it, you can share texts.
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He' s cute, no idea he could want to do it professionally,
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' cause I' d never done it before. But then ana, when
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the group was cut off, because she also got up, invited us to
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her workshop and we continued to pay what we paid at the Cultural Center,
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which was very little until the end of the year. Then we would integrate
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what we wanted, paying what was right and I liked it and then I
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met Mariano Llorente, who is a boy who tells very nice stories, who
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proposed to me to count on him. I formed the group Full of words.
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Then it was called Good Word and we added guitarist musicians and counted in
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many places. And there I realized that I had read few stories and had
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when the time came to choose material I found very good texts, but they
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were not to be narrated. I couldn' t tell Borges or what I
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know about other great writers who write beautiful things, but for me telling style,
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they don' t go very hard. And then I said I'
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m going to start writing about everyday things, about the neighborhood, about my
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experiences, and I was sitting in a bar and I wrote and I wrote
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that days and then I would tell my partner, Mariano, that it looked
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like him and he would tell me that it was okay and we would go
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on and I would also add some authors that I liked and material that he
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gave me that was a while ago, that I was in this your material
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is more to what kind of dramatic narrative. I think it' s quite
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diverse. I don' t have a single line, but I try to
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always have humor, humor because life has those sides. I mean, what
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we have to keep is like air, like breathing. But the first story
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I told was in the house, a story called rugby. Rugby was inspired,
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I guess, you ask me like this, what he points to have
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to do with everyday life. But to that everyday, one incorporates fantastic,
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historical elements, everything that comes. But if to look around the ideas arise
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and I had met a very nice waitress who is now no longer in that
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bar called Carmencita and from Carmencita I started to invent a story. So,
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maybe I' ll explain to you how the stories come up. Not because
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next to my house lived a man who was annoyed by his wife, who
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was already big and very sick and was half a peache with the young loving
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girls and then there those two characters joined and the story came out. Not
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because a story that has humor and that also does not tragedy, but assume
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that the stages of life can not jump them. Not because in this case,
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Carmencita has to give this gentleman some advice about whether it' s okay
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to want to declare her love to a twenty- five- year- old
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girl. You' re eighty- five, and in the middle a lot
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of things come up. He is almost a monologue and when I told that
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story, which was the first one I had written and the companions liked,
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to me it was like a caress to the soul, a huge caress to
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the soul. I came home and said I' m going to prepare it
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even more, I' m going to put this on it, I'
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m going to put it on someone else. And so the story of looking
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around, as I tell you, of chatting with a waitress that for some
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can be a character, a shadow that passes past us and serves us a
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coffee and goes on. But that' s not the writer' s work.
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It' s seeing what' s behind it. Yes as a story
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that can happen as it has done many times and agata Christie, not the
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more the one you didn' t see. The invisible one ended up being
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the main one of the work. Exactly. Anyone who wants to buy your
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book, how to contact, where it goes that gives few, but if
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they want, they can search me on Facebook and leave me an invox message
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and combine. I mean, on Facebook you' re like Bertha, there
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' s Susana Brunsman, the first name, my first name and last name
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Bertha Susana b r u nd Baby faith of happy Man and good. There
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you can leave me in an invox message and I have done it with many
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people and we combine. I' ve got about five or six left We
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mentioned I published a lot of it, too. That' s right,
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how it would fall on you, how they ask you, and their edition
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ran out right away. Yeah, yeah, the five thousand copies. I
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got up in the morning and you were gone. You said he' s
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my press agent. He runs my play. Speak plainly today you are preparing
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a play when it will come true and where we are hurrying, because the
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truth that goes faster than one thought and the director is very good. The
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actress of Salicia and Allandau was the teacher I had at the Cultural Center 25
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May. He began by making a story called the autumn face and in a
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pandemic I took a theoretical course in dramaturgy and worked on it following the teacher
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' s slogans and a monologue came out. I had already made the pepa
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and I with their socological Ana and a monologue came out and it was actually
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for two people, because there was also a narrator. But we unify it
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and I think that by November, by the end of October, the first
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week of November, it will be ready. It is called the course of
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narration and the protagonist is a woman who wants to escape a destiny. I
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' m not going to count, no, no, when you have it,
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when you' ve got a date and so on, you' re
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going to let us down and we' re going to promote it around here.
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She is a woman who wants to escape from a destiny and also has
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to do, as I spoke to you before rugby, with taking on the
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stages of life, but without giving up on dreams. No, because there
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is always something to project, to dream and realize. All right, what
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a story you can give us so we' re closing up later. Yeah,
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now, yeah, yeah, well, this is a story that I
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' d like to publish in the next book when I can, when finance
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closes me up and, as it' s romantic, it starts like this.
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The other afternoon I saw rain tell people, run and you weren'
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t there. The other afternoon a blue star was shining and you weren'
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t there. Oh, how Rachel liked boleros for many years. Raquel tried
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to find her soul Gemela, but all her attempts were unsuccessful. Time passed
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and Rachel felt that her aspirations had not yet materialized, consulting psychologists, tarotist
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astrologers who could flee her. The last professional you consulted was a shaman who
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read the lines of his feet. The man explained by telephone that, at
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least fifteen days before the meeting, he had to go to the podiatrist to
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remove the hardnesses that would prevent him from seeing clearly the lines of his destiny.
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Raquel took two shifts, one with the podiatrist and the other with the
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shaman. The shaman in question spoke with a European accent and told him that
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he was born in Siberia. His predictive and healing gifts were inherited during the
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consultation. Very focused on what the shaman saw let him know that his cycle
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of search for love in this world had expired.“ Everything has a time,
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Miss,” he said without giving rise to further questions, because he
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had to attend to the next patient. It was Elena, her best friend,
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who recommended her to see him. Depending on your step. It was
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really someone who handled the power of the occult with great skill. His predictions
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were always fulfilled. Rachel was disappointed in that interview to pay as much money
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as she had paid to end up hearing a hopeless response. Of course,
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it also seemed to him that this forceful response served to close a cycle.
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If he was denied love, he would undertake other searches. He had always
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been told that he sang well and although the shaman had not spoken on it,
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he felt that he could begin to take a singing course and focus on
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what everyone held was his gift That way he could fall in love, but
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his voice. The day before his forty- fifth birthday, Rachel was debating
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the choice of meeting her family or spending it alone with her memories. If
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he chose the first option, he would spend it with his father and uncles,
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his brother, his nephew, n the RN, his sister- in
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- law Elsa, who every time he came on the day he turned up,
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insisted on the same thing as if he was dating someone who like he
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did to be more beautiful every day, but who had to hurry because time
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was passing quickly and then see if he was still dating a married guy,
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that was a waste of time. Rachel didn' t want to think about
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him anymore. Then he also did not wish to confess that a shaman kiss
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had predicted that the time to love was suddenly over. That night he decided
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to have a taste, he wanted to eat rich and if there was something
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that gave him great pleasure, it was to eat His shi was Saturday the
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next day. He had no obligation to get up early to go to work
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at the barbershop He recalled that on the corner of his house the golden salmon
28:45
had been opened by a restaurant specializing in sushi. He quickly entered the premises
28:48
which, as far as he could see, was about to close if he
28:52
hurryed, he still has time. He heard a man standing behind the counter.
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She was made gualaboca, reading the list of possibilities, which was the
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menu. He chose fifteen pieces of salmon from raw cooked prawns. When he
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finished paying, he picked up a little bait to get into the apartment,
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but he didn' t find it right away. He felt that in the
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rush he had forgotten. Put the owner of the place in the door on
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the inside. Seeing him emboldened, he asked if he wanted a glass of
29:21
water to reach him. You don' t have to. He answered,
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I' m perfect. I went down to buy yours and it turns out
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now I have to look for a twenty- four- hour flower locksmith for
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extra expense. I have to do it realizes and all for not wanting to
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stay the whole night thinking stupid things clearly that for me they are not and
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the sushi raised my spirits. As soon as I got into my mouth with
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a bite of tuna or salmon rolled over with high rice and which isop Philadelphia
29:45
to which, of course, I add to guasabios corny soy. I sit
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in the fifth heaven that goes to you that may care what happens to me.
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You' re the only thing you want me to pay you what I
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bought and for you to leave. Not the owner of the premises immediately apologized.
30:00
My name is Juan, of course I care what happens to him.
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What you should do is eat your Sushin tray as soon as possible. Then
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you' ll see the fish. It' s very delicate. If you
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are right, my name is Rachel and thank you for the Council. Nor
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is it a matter of swallowing. I wanted to tell you that you have
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to eat your shi at the moment, you have to taste it and accompany
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it with a good glass of white wine like the one in the house.
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I' m going to uncork a bottle running on my own and that'
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s how it was without further ado. John took his tray to one of
30:29
the tables and the two ate together. While they were having dinner. He
30:36
said that he was newly separated and that he did not want to engage in
30:41
any relationship that required compromise. I want to find a partner, but without
30:44
haste my marriage. I confess it was a failure and a good thing we
30:48
didn' t have any children and you. Raquel thought he cared very little
30:51
about what they were telling him. He had his head. On another matter,
30:53
he imagined going to the apartment with the locksmith, who would ask him
30:57
a lot of money to put an sa the new horseshoe out of courtesy put
31:03
face of interest and I, for now I' m fine as I am.
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When you came in, I thought I saw the woman with the most
31:10
beautiful celestial eyes I' ve ever seen. She said surprising what a phrase
31:14
she made. He thought how many times he had been told the same thing.
31:17
If the thing remained in that tone, it would take the tray of
31:19
Sucia to the square and ready raquel looked at his watch and saw that they
31:22
had given twelve years. He lamented it' s forty- five and don
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' t tell me I look any less to look good, because then I
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grab my wallet and go. I heard you say a big lie and I
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don' t want any more lies. Today I get the mirror and I
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' m old. If I look over forty- five. Last year I
31:41
made a list that I already have new wrinkles and stains because I love sunbathing.
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I' m not putting on the sunscreen every second in fat. I
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' m forty- five and I couldn' t fall in love with any
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of the men who went through my life, one worse than the other.
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If I told you my story, I also have to admit that I'
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m not anything special either. Physically, I' m from the pile.
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I don' t read much, I didn' t watch movies, I
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work all day, combing, cutting hair, making paintings, working since I
32:07
was fifteen. I don' t know how to cook well, I can
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' t tell adventures about distant trips that I' ll never make simple living
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in a small apartment that has paper walls. If I sneeze next door,
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the neighbor says" heal" to me. Miss, I think I paint
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pretty boring and unattractive for what you intend to find today. No, but
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what a shame, what am I doing here telling all this to you?
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Good thing I didn' t tell you that a shaman told me that my
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time to find love ended I told you it wanted to be wine. I
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' m not used to it. The owner of the place was a very
32:42
quiet man. He told us one word. She went to the door,
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under the metal curtain, put music and took her dancing.“ I haven
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’ t danced in a long time,” she said, falling back“
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The first thing they danced was rock raquel thought it was flying. Then it
32:57
was a turn for a cumbia. He had so much fun stimulating the movement
33:00
of his sleeping hips. When it was the turn of a tango, the
33:05
bodies intertwined in such a way that everything made him forget that he had to
33:08
look for a twenty- four- hour locksmith in order to enter his apartment.
33:14
He thought that on Monday he would ask for the money back, the
33:17
shaman recommended by his best friend. That' s good, well I'
33:27
m really glad to see I' m loving a little humor, no,
33:30
but very good, very good and well described berta happy to have. It
33:35
' s autobiographical. No. No, no? No, no, no,
33:37
no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no, no,
33:37
no, no, no. No, no, no, no,
33:37
no, no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no,
33:37
no, no. No, no, no, no, no, no,
33:37
no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no,
33:37
no, no, no, no, no, no, no, no.
33:37
No, I like it so much. Even if it is autobiographical,
33:44
that would remain to ask what it was like to be a kiss, a
33:52
big kiss, another happy to have listened to you and to have known you
34:00
and what you are doing. So warning, please, for letting me share
34:06
ideas and from here by tomorrow. I wish you all very happy Friend'
34:10
s Day, because we are all friends and we have a good time.
34:15
A kiss, too. Thank you, Chao Carson, you' re going
34:21
for a break. You' re my brother of the soul, really of
34:51
the friend. Well, every road and journey is always with me. Although
35:01
you are a man you still have a child soul, the one who gives
35:09
me his friendship, his respect and affection. I remember that together we spent
35:17
very hard moments and you didn' t change into strong winds. It'
35:28
s your heart, an open house, you' re really the truest in
35:37
uncertain hours, yes it comes to remember it betad. Tomorrow July 20th is
36:00
the day of the strong friend hugs friends. Sometimes people start classifying who is
36:13
more friends, fewer friends in general, friend, friend, friend. Many
36:22
times we reach the fingers of one hand, but in life, in the
36:28
course of our life, we have many friends, many support us in their
36:36
moment, they encourage us, they do not listen and they are always there
36:45
because even if we do not see them, even though in this network we
36:52
are not always with them, but they are in our mind and in our
36:59
heart, because each of those who have been with us has touched us with
37:05
their magic wand. Something has left us and for that, thank you,
37:09
friends, thank you, friends, for everything we learn from you, everyone
37:16
in your style, in your form and also even though many say that we
37:23
are not happy for your successes, we are saddened by the tragic moments that
37:31
can happen, but the friend' s day is every day, so that
37:40
tomorrow or already tonight we begin to gather and celebrate. What is friendship.
37:50
This is the question that Colombian poet Carlos Castro Saavedra tries to answer. For
37:57
the lyrical speaker, friendship means, among other things, support, sincerity,
38:04
companionship and calmness. In the most complex moments. A true friendship overcomes the
38:10
passage of time between joys and sorrows. Friendship is the same as a hand
38:20
that supports its fatigue in another hand and feels that tiredness is emitted and the
38:25
path becomes more human. The sincere friend is the clear and elementary brother,
38:32
like the ear, like the bread, like the sun, like the ant
38:38
that confuses honey with summer. Great wealth, sweet company. It is that
38:45
of the being that comes with the day and clarifies our inner nights, source
38:52
of coexistence, of tenderness. It is friendship that grows and matures in the
38:58
midst of joy and pain. That' s the friendship for this man.
39:08
There are situations that I tell you we like to present, we like to
39:22
show and we are going to do it as quickly as possible. There is
39:30
a song, the humagoqueño or known by all, that has a very particular
39:39
history, since its creator is a porteño, the singer of the popular culture
39:47
of northern Argentina. The humahuaqueño stands out, a traditional song also popularly called
39:55
the carnivalito or the bradeño. An original carnival of the gorge that has been
40:00
sung since the incact times. His music is played with er that throw out
40:07
and hype. Edmundo Saldívar was a musician from Buenos Aires who composed the carnavalito
40:14
el humai huaqueño without ever being in the place. El Mundo Saldívar was a
40:22
guitarist of the typical Indian orchestra led by pianist Ricardo Tanturi and that would jump
40:27
to popularity when he performed Alberto Castillo as a singer. Saldívar composed a Mahuaqueño.
40:36
In a thousand nine hundred and forty- one, as he went by
40:39
tram to his work, he lived in the city of Buenos Aires. He
40:45
played half and reconquered and regularly took the tram nine- nine to radio the
40:51
world, where the stable guitarist was rit with the noise of the brake and
40:58
the rattling appeared to him the melody. He had never been to Humahuaka,
41:01
nor would he be in the sixty- one years of his life. His
41:09
carnadorito was in immediate success. It' s been recorded all over the world.
41:15
In France it has had more than two hundred versions and in Germany,
41:21
about one hundred have recorded it since Roberto Carlos. Here, in Africa there
41:25
are remixed rapper symphonic versions and even in Japanese. It is the most popular
41:32
Argentine music in the world and the anthem for the jugenio people that celebrates every
41:37
February 7th, Carnival Day. In homage to the author, the Altibar porteños
41:46
world that had been born in the seventeenth in Palermo. The friend Saldívar was
41:54
very famous in a thousand nine hundred sees a romplan with eight themes that had
42:04
central this composition, which had already gained popularity. The Saldívar world is just
42:14
buried in Humahuaca and is generally recognized and celebrated by this strange work. Let
42:29
' s not listen to some of the mahuaqueño sings what eight coming to this
43:04
cannaval that bradeño micholita is of that mom who calls to sing to see what
43:12
to throw and naval mouth and take to dance and become carnava bra of it
43:17
my chulita, coming to none of it my horita, all this vega that
43:25
sprouts a modal that they call to see that throw, boot bar and take
43:32
dance and will break from there buido break already gone isabel of a mom that
43:45
I so much to see what charle am ban naval mouth and to dance was
44:07
mother arriving this alcana, how we continue to see behind a story. There
44:15
is another story that is sometimes known, sometimes not. For today' s
44:23
story I chose the landscaper and chose him before doing the reflection with which I
44:35
opened the Casuality, Causality program. I do not know how to go once
44:44
a painter of great talent who was sent by the Emperor of China to a
44:49
distant and newly conquered province with the mission of bringing back painted images. After
44:58
a long journey in which he visited in depth all the territories of the province,
45:04
the painter returned, but, however, did not provide any images.
45:10
This gave rise to surprise in the emperor, who ended up getting angry with
45:16
the painter. At that time, the artist asked to be left a wall
45:24
canvas on him. The painter drew in great detail everything he had seen and
45:30
traveled on his journey, after which the emperor came to see him. Then
45:37
the painter explained to him each of the corners of the great landscape he had
45:45
drawn and explored in his travels. At the end, the painter approached a
45:52
path he had drawn that seemed to be lost in space. Little by little,
46:00
the painter went into the path, getting into the drawing and getting smaller
46:04
and smaller until disappearing after a curve, and when it disappeared, the whole
46:12
landscape did it, leaving the wall completely naked. This tale of Chinese origin
46:23
is somewhat complex to understand and for this we must put ourselves in the position
46:30
of the painter and what he does throughout history, on the one hand,
46:35
to observe reality, but, on the other hand and as it is seen
46:42
at the end when he joins his work, it forms an intrinsic part of
46:45
it. It is an allegory that, although we can be observers of what
46:53
is happening in the world, we want or are not part of it.
47:00
If something happens in that reality, it affects us, as we are part
47:06
of it, while what happens to us is not far from reality. The
47:19
landscaper, unknown author. Well, dear friends, somehow we' re getting
47:31
to the end of the program. I want to thank you for having accepted
47:38
and tolerated my coughs, because I am with a strong congestion and being tomorrow
47:49
friend' s day, I would like to share with you and to close
48:06
different or two approaches to friendship. Mario Benedetti wrote. I like people who
48:15
vibrate that you don' t have to push it, that you don'
48:21
t have to tell them to do things, but that they know what to
48:24
do and that they do it. People who cultivate their dreams until those dreams
48:28
take hold of their own reality. I like people with the ability to take
48:32
on the consequences of their actions, people who risk the right for the uncertain,
48:38
to go behind a dream who is allowed to run away from sensible advice,
48:44
leaving the solutions in the hand of our Father God. I like people
48:49
who are fair to their people and to themselves, people who thank the new
48:54
day for the good things that exist in their life, who live every hour
48:59
with a good spirit giving the best of their gratitude, of being alive,
49:02
of being able to give smiles, of offering their hands and generously helping without
49:09
waiting for anyone. In return, I like people who can criticize me constructively
49:15
and head- on, but without hurting or hurting me. People who have
49:20
tact. I like people who know the importance of joy and preach it,
49:25
people who by jokes teach us to conceive life with humor, people who never
49:30
cease to be childish. I like people looking for solutions, people who have
49:42
personality. With people like that, I' m committed to whatever it is
49:50
for the rest of my life, because by having him with me I'
49:53
m considered well- remunerated. This is what Mario Benedetti said and we are
50:00
going to close with a writing by Jorge Luis Borges which he expressed like this.
50:07
Friendship doesn' t need frequency. Love can, but friendship and above
50:14
all, friendship of brothers, cannot do without frequency or frequency. Not love,
50:22
however. Love is full of anxieties, doubts. A day of absence
50:29
can be terrible in friendship. No, dear friends, here, along with
50:37
Juan Greco, the people on the radio, we told them to spend a
50:44
beautiful friend' s day. Let them write, greet, embrace, share,
50:52
and remember. Tomorrow is a day of celebration, but every day you
50:58
have to feed friends. Good week and I' ll meet you here next
51:04
Friday. As I always tell you on treintopic radio at 13 hours